Jérémie Rozan (S2A)

The Creators Project: Hi Jérémie. What are you working on at the moment?

Jérémie Rozan: Various projects: an endless piece of writing for someone, a short film, the opening of new Surface To Air spaces in Paris and Copenhagen, and the 2010 season of Uniqlo.

Sounds like you have your hands full. You work with some very luxurious and high-end brands. Overall, do they completely grasp the importance of cutting-edge technolgies?

Yes and no. Yes, because they think using technology in art is a good way to be different, which means being “rare,” and therefore “luxurious.” But when insiders tell me things like, “We’d like to make a good movie to create some buzz on the internet,” it means nothing to me. A good movie is good movie, right?

You use different forms of technology in all aspects of your work. Do you view it as just another tool or has it become indispensible?

Technology helps me have a lot of freedom in my work; I can work faster on any idea I have at any moment instead of what I did years ago when I had to ask many professionals before beginning a project. Basically, technology helps me to know if an idea is good or not. But technology itself doesn’t attract me that much. The major part of my ideas are not really linked to technology.

What technology is currently the most important to your work?

Probably the Red cameras that shoot at 4K high-definition resolution, which means they’re two times superior than the basic cinema projection format. When you’re filming you can basically do anything you want, because you know that everything can be changed at any time in postproduction.

What’s your take on digital video (DV) cameras? Do they still have a place in this world of ultra-high-resolution filming systems that have eschewed the tape format?

I have as much affection for DV as I used to have for the CD. The texture is pretty funny, but it was basically a go-between format for the transition from film to digital. Today we have the opportunity to make movies using way better textures for the same amount of money. If you want to make a gonzo-report film, DV is the most efficient way to do it. But apart from that I think the format is already obsolete.

You’ve stated your fondness for 70s cinema many times in the past. What about the era is so attractive to you?

There’s a theory that says we all love cinema because it’s related to a moment where our brain is editing some truly lived or imagined sequences of life. I like this idea, so I like it when cinema technologies can create that sensation onscreen. I remember, for instance, the “SuperScope” process of Leone and Kubrick, Walter Murch’s analog sound during the wedding scene of The Godfather, or even the everlasting and unfortunately never-seen Garett Brown Steadicam sequences in The Shining.

How do you see cinema evolving in the next decade in terms of technology?

You don’t need to have a 35mm camera to make a movie anymore, and everyone seems to know, at last, that you can make a web movie with something other than a crappy DV camera. But the most relevant thing, I guess, is that technology created a form of entertainment in cinema, which finally has its own codes and its own cinéma d'auteur. I’m sure Roland Emmerich’s 2012 is as important as Ben Hur for its time, but we have to differentiate entertainment cinema from classic cinema. There’s nothing left to be invented in classic cinema except new characters and new stories. I’d like to live in a world where we could watch a movie without a screen, though.