Interview with director Henry Bruno

  • Was there a particular event or time that you recognized that filmmaking is your way of telling stories?

There is no particular time… There are many times. It’s like beats heart  showing the way of my directing.

  • Do you think it is essential to go to a film institute in order to become a successful filmmaker?

There are  different school of life. For my part , I’m an autodidact. I learned a lot with the directors I played with as an actor. Also with the team artistic  and technique . It’s how you tell your story, with imagination, sensibility and authenticity. You have to be true even if you lie, and then the public decide of your success or not .

  • Is it harder to get started or to keep going? What was the particular thing that you had to conquer to do either?

The most difficult thing was to finish the movie because when you start with an auto-production, you don’t have a lot of money. And the post production cost a lot . So you have to find some help. That’s what I did an d I found. Then my producers follow me Akwandies and KN5 .

  • What was the most important lesson you had to learn that has had a positive effect on your film? How did that lesson happen?

The most important lesson I learned is about myself. Find the good way to be in connection with all my team, the story written by Maryline Mahieu and to have confident in me. Always believe in magic. Be positive even if it’s hard sometimes. I’m also the lead actor and it’s always a lesson to play with a really good partenaire as Anne-Sophie Trébel.

  • What were the production realities from casting through editing that you had to accommodate? How did you navigate those compromises or surprises and still end up with a cohesive film?

I did the casting and I choose my team because they are good. Nils Jacobsen the d.o.p, Géraldine Elgrishi the editing, Kévin Tourné the music composer,etc…I knew them because we worked together before and also because they are really talented. The only fight was about the ego. When you have a lot of strong personalities , you have to deal with even if you are the captain of the boat.

  • What was the hardest artistic choice you made in the making of a film, at any stage in production?

The hardest was to cut some scenes because I didn’t want a movie too long.

  • You are a collaborator. How have you discovered members of your team and how do you keep the relationship with them strong?

Many of my collaborators we are friends, so it was easy . They know me  and said Bruno it’s ok, we follow you for your first short-movie.

  • What do audiences want? And is it the filmmaker’s role to worry about that?

I think that when your movie is finished, it’s not yours anymore. The universe  decide. The success become of how you touch the heart of the audience . And a bit of luck too.

  • What role have film festivals played in your life so far? Why are they necessary? How do you get the most out of them?

Festivals are really good for filmmakers because they give you an opportunity to show your movie, your work and  the work of the all team. Your story travel in a world heart with a lonely mélodie : Touch people. At the moment we won 16 awards in internationals gold films festivals . I feel really lucky and proud of it and humble for the distinctions . Thanks life for that and thanks the festivals for the prices and reconnaissance .

  • Do you believe that a filmmaker should be original and fresh or he/she should stick to classic but safe cinema style?

A filmmaker just have to be authentic , true and tell the story he want to show . The originality is in the story, how you do the editing, how you create an original music and a good cinematography .