Alexandre Leroy, a young director and screenwriter from Lille, is launching his new short film project. With the cast an actor seen in Kaamelott, and another in the series Marianne. Entitled TRAC (https://fr.ulule.com/traclefilm/) it tells Lily's story. A young actress going on stage for the first time. Unfortunately, she arrives late to the performance. Faced with stage fright, forgetting his text and the people around him, his nightmare has only just begun. The opportunity to discuss with the director, the film, and his vision of cinema.
Hello Alexander. Beyond the synopsis, can you tell us more about the film?
TRAC addresses the themes of ambition and success but also failure ! The fear of failure, which accompanies the perseverance of wanting to evolve in the world of cinema or in the artistic world in general, does exist! It is therefore closely related to self-confidence, since to succeed, in my opinion, you have to have faith in yourself, in your projects. The lack of confidence of Lily's character is something that the short film addresses. Missing out on your dreams because of stage fright. While for most, stage fright is something natural before a public performance, for others, it can be horrible by feeling ridiculous.
Will the dream be an integral part of the film?
The themes of dream and nightmare are present in the short film. Reality is the passion of the character, while nightmare is the failure of everything you do. The fact of not being able to live this passion, this dream. The film takes the turn of the actor's nightmare in the theater, where everything that must take place normally becomes a succession of unforeseen events and inner conflicts as to the desire to live this passion or not. All this involves imposing oneself in front of others in this world. Since artists have to work very hard to be recognized in what they do and thus stand out from others! 
In TRAC, we go inside Lily's head and we understand what she is afraid of. Everyone can identify with this character, especially the artists because here, it is a question of achieving his dream and finding himself confronted with people who will put obstacles in our wheels. It is even more difficult for Lily to achieve this since she can only rely on herself. We can also make a connection with the fact that it is more difficult for women to evolve in cinema when we see the few nominations they have in festivals… So imposing oneself as an individual, but also, as a woman are questions that the film raises.
Do you have one or more references for this project?
For this project, I didn't think about the references and then wrote the script. I wrote the script and the references came naturally. There are several films that can be referred to for this film. I think above all of Black Swan, Darren Aronofsky's masterpiece. For the behind-the-scenes side of the show, and deep psychology of the main character. In it, we focus briefly on Nina's performance but above all, what interests the director is the emancipation of the young woman. In TRAC, what interests me is not the backstage of the show but the physiological preparation. The signs that stage fright makes appear. As well as psychological preparation. To say that we have only one chance in front of the spectators because if we hesitate, that we forget his text or that we totally lose his means, it is seen and also impacts our playmate. And even to go further, imagine failing or the course of the show. Think about everything you don't want to experience before the performance and on stage. The psychological drama side of Black Swan is felt in TRAC because it is also a question of an understudy but this time without rivalry. Here, we really focus only on Lily and her inner demons. The other characters characterize some of the different profiles that one can meet in one's life and that one must face to get there. The director symbolizes our letting pass. Like a producer financing our film. The imbued playing partner of his person, the one with whom we never want to work on a shoot again. Where in Black Swan, beyond Nina's ambitions and demons, there is a rivalry with other dancers. 
Are there others?
Yes then, another of the notable references, it is obviously Perfect Blue. The animated film by Satoshi Kon. Since TRAC adopts more or less the same structure. A descent into hell of a character who can no longer distinguish between reality and fiction. In TRAC, the distinction will be possible at the beginning but will disappear gradually. Without spoiler, some scenes happen, then we return to reality when time has passed anyway. The spectator will be relatively taken by the hand as and when, we will let go of him so that he can no longer distinguish between real and nightmare.
In TRAC, what interests me is not the backstage of the show but the physiological preparation […] and psychological.
We can also note Birdman by Alejandro González Iñárritu. Incredible film in sequence shot (several sequence shots assembled by invisible cuts). It deals with the behind-the-scenes of a Broadway play, staged by former actor Riggan Thomson, played by Michael Keaton. We understand in this film how much this play means to him. And we explore both the behind-the-scenes universe of the show, but also the psychology of the main character. Regarding TRAC, we chose to focus only on the furthest behind-the-scenes aspect. For example, we will never really know what the play they are going to perform is about. Nor even who will be the characters they will play… As for my other references. Note Whiplash, by Damien Chazelle. But also Possession by Andrzej Zulawksi.
Why stage fright in the theatre rather than in the cinema or in everyday life?
I deliberately chose to deal with stage fright in the theater because I find that getting lost in front of hundreds of spectators is much more impactful than failing in front of one person. We have the judgment of several people that we do not know for the most part. However, our performance when people do not know us characterizes us. And when we try to evolve in the artistic world, it's what we know how to do that matters. In addition, the subject of theatre particularly touches me since I myself did theatre when I was younger. It also directly affects the people who are working on the project. Especially the actors since they are confronted even after several years of experience, still with this feeling that is stage fright.
Can you introduce us to the actors?
I chose Délia Espinat-Dief for the innocence and sensitivity she exudes […] for the madness she is able to bring into her characters.
The cast is at the top! The main character of TRAC, will be played by the talented Délia Espinat-Dief. You probably saw him in Samuel Bodin's Marianne series last year on Netflix. But also much more recently on OCS, in Benjamin Rocher's historical series MOAH . She is an actress that I chose for the innocence and sensitivity she exudes, but also for the madness she is able to bring to her characters. What is necessary for the interpretation of Lily. But I also chose him for his open-mindedness and his desire to be an integral part of the character creation process. 
TRAC also has emerging and extremely talented actors. Antoine Vinck who will play the character of Antoine, a young actor, son of the director, who is imbued with his person. And the understudy of Lily, a young woman kind to her, who will eventually replace her out of spite. This understudy will be interpreted by Marie Benati. A young actress with several plays and short films to her credit. Finally Andrë, the director, played by Gilles Graveleau. Both benevolent too, but also uncompromising vis-à-vis his piece. He will make live a real hell to the character of Lily since it does not seem at all ready to assume the room in front of this full room. You must have already seen this actor in the series Kaamelott by Alexandre Astier. He has also distinguished himself by different roles in short films, series and web-series while doing something completely different!
How did you convince them?
At first, I went to the nerve! I think the script played an important role but I'm very grateful to them for deciding to trust me for this project. Knowing that I didn't really have anything to show them since I'm not satisfied with Un Beau Film (his previous film). Even if it remains an incredible experience, enriching and that has taught me a lot of things. I think that being able to identify with the character as an actor and comedian creates a desire to be part of the adventure. I didn't want to stay in the drama but turn the film to horror by the depth of the psychology of the main character. This direction I decided to take must have pleased the cast.
I find it beautiful that artists with so many experiences still agree to shoot with young directors / screenwriters.
Subsequently, discussing the story with Délia, which particularly touches her since she also performs in the theater (most recently in Simon Abkarian's The Last Day of the Fast), made it possible to establish a relationship of trust and real work around the actor's nightmare. I was able to flesh out the script, thanks to his own nightmares. By the way, for the anecdote, the opening scene of TRAC is based on one of her nightmares that she told me during one of our discussions. I find it beautiful that artists with so many experiences still agree to shoot with young directors / screenwriters. This allows us to share our experiences and to be able to bring out films with total freedom.
A very involved actress therefore. And for the others, what was it like?
As for Antoine Vinck, I published the ad looking for actors, and I came across him. In times of covid-19, he had to send me self-tapes that caused a sensation. I immediately found in him what I was looking for. So he was the one who came to me because of the announcement. He still stood out among fifty candidates for the character of Antoine. For the lining, I had a lot of trouble finding it. At first, as for the character of Antoine, I put online an ad on networks and sites specializing in the search for teams, actors, etc. The problem being that I could not really find the one I wanted despite the fact that I received a hundred applications for this role. Then Délia recommended Marie Benati, who immediately caught my eye. Both in terms of his acting and in terms of his personality and his piercing eyes, which will give I am sure, a very big plus to one of the last scenes of the film. 
Finally for the character of the director, I had about forty applications but none really pleased me. It was during the shooting of Programme ARCA des Frères Aguesse, a short science fiction film where I was first assistant director, I saw the actor Gilles Graveleau again. With him, the feeling immediately passed. We have a common vision of cinema. I finally decided to send him the script. He has indeed, a resemblance to Antoine's actor and the build, the charisma for the interpretation of Andrë. And Gilles agreed. Obviously, with covid, the projects he is part of are also delayed. So he will be part of the film if his availability allows.
You say in the Ulule presentation that making festivals is a goal. Why this choice rather than a direct broadcast on YouTube for the greatest number for example?
Yes, festival broadcasting is a very important goal for us. Simply because this type of distribution is really reserved for cinema. This can allow us to have opportunities for future projects. When we make a film, we also show what we are capable of, whether as a screenwriter, director but also for any of the professions that make up a film crew. We prepare the film, we shoot it, we edit it and then we refine it. And finally, we offer our film directly to people who will judge it and reward us or not for our work. Just the selection stage is already a victory. These festivals can lead us to make more or less important encounters, some of which can change our lives. Bringing the film directly to a platform such as YouTube is not an option for us. First, because most festivals reserve the right for the film to be private. And therefore that it was not presented to the greatest number to claim a selection as well as an award ceremony. Then, exclusivity for spectators, and the discovery of the film in festival cinemas is very important to us. In addition, people at festivals watch the film and do not do anything else. They appreciate it. While on platforms, such as YouTube or Netflix, we can pause. Do something else at the same time. How many people have told me that they did not understand a movie, because they were on their mobile at the same time.
Festivals can lead us to meet […] some of which can change our lives.
And what are the dream festivals?
As far as the targeted festivals are concerned, we have the Cannes Film Festival, the Gérardmer Film Festival, the BIFF and the Sundance Film Festival… We are aiming for a lot because of the hybridization of TRAC genres. But with the current health situation, we will see how all this unfolds!
It is often said that you just need a phone to make a film. What do you think?
I don't really agree with that, although it's true that you can create with a phone. Far too many parameters come into play to simply say that you "just" need a phone to make a movie. Certainly, directors have taken up the challenge and made very nice films. Besides, phones offer something different compared to a digital camera. Just like film offers something different compared to digital. But to make a film, you need a crew, a light, sound, and the use of the phone is very quickly limited since there are still the objectives that have a key role in a film. With a phone, you can create, make movies yes, but there's a lot more to it than that.
In your previous film you tackled a very creepy, very gory subject and you did not hesitate to show it. Is this an aspect that you want to transcribe again?
I wouldn't say A Beautiful Movie is very gore. It is unhealthy certainly, but there are only a few scenes where blood is present. I can count only three. The last scene goes very far, but it is still suggested. Moreover, we cannot really see what is happening given the poor quality of the camcorder used, which is intended. If it is very gory, it is because the viewer has sought to see what is gore. On the other hand, yes, I would very much like to deal with this subject again. I didn't go far enough in Un Beau Film in my opinion. I would like to talk again about snuff-film and reality in cinema because it is something that fascinates me. With the experience I have gained over the last three years, I hope to be able to make a film about it again. One of my references for this film that I recommend is the little-known Tesis by Alejandro Amenábar which deals with this subject in such a suggestive way!
For the shooting you need a lot of extras it seems?
Exactly! For the shooting, which is also postponed again because of covid-19. We will need a number of extras. But we do not yet know how many since we are waiting to return to the Jean Vilar theater (location of the shooting) to see what we are going to do vis-à-vis the light, in order to limit the number of extras.
We will need […] extras.
What's next for you? And what can we wish for you?
Well, with this new lockdown, I must say that I decided to start writing a science fiction short film called NOA that I have partly already written. But also to continue the adventure of my first feature film: Magnificence. Work as an assistant director to gain new experiences and meet new people. You can wish me to get there and to be able to show you TRAC next year! And we can't wait. Thank you Alexandre! If you wish to participate in the financing of TRAC and thus help Alexandre Leroy and his team, you can do so via the Ulule platform.
