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Olivier Assayas Poster

Biography

Jump to: Overview (1)  | Mini Bio (1)  | Spouse (1)  | Trivia (18)  | Personal Quotes (8)

Overview (1)

Born in Paris, France

Mini Bio (1)

Olivier Assayas is a French film director, screenwriter and film critic. He is best know for his films Demonlover (2002), Something in the Air (2012), Clouds of Sils Maria (2014) and Personal Shopper (2016).

Assayas is the son of French director/screenwriter Raymond Assayas, alias Jacques Rémy.

His directorial debut was in the short film Copyright (1979).

- IMDb Mini Biography By: Pedro Borges

Spouse (1)

Maggie Cheung (26 December 1998 - 2001) ( divorced)

Trivia (18)

Older brother of Michka Assayas.
President of the jury at the entrance examination of La Fémis (France's national film school) in 2002.
Son of Jacques Rémy
Contributor to Cahiers du cinema. In 1990 he published a book, "Conversation avec Bergman".
Graduated from the French National School of Fine Arts (Paris)
Was one of the first European film critics to pay close attention to the new cinema emerging from Asia.
Member of the 'Official Competition' jury at the 51st Venice International Film Festival in 1994.
His mother is Hungarian.
Member of the 'Official Competition' jury at the 64th Cannes International Film Festival in 2011.
President of the 'Official Competition' jury at the 70th Locarno International Film Festival in 2017.
Split with his longtime partner Mia Hansen-Løve in 2016. They have one daughter. Despite numerous mentions in the media referring to them as husband and wife, Hansen-Løve stated in an interview with The Final Cut in 2017 that they had never been married.
Grew up during the aftermath of the civil unrest of 1968.
When his own father, screenwriter Jacques Rémy, became too ill to continue writing the successful series Maigret, Assayas and his younger brother thumped out scripts under Rémy's name.
His main political influences when growing up were Guy Debord and George Orwell.
Started his career in the industry by helping his father. He ghostwrote episodes for TV shows his father was working on when his health failed.
Despises TV.
Is a major Theodor Adorno fan.
His ten favorite films are 2001: A Space Odyssey (1968), The Gospel According to St Matthew (1964), Ludwig (1973), Napoleon (1927), Playtime (1967), A Man Escaped (1956), The Mirror (1975), La Règle du jeu (1939), The Tree of Life (2011), and Van Gogh (1991).

Personal Quotes (8)

I like the adventure of making films. And the adventure of making films has to do with the capacity you have of listening to your guts.
Ultimately, what I am most interested in is what contradicts what I have written because that's exactly where real life moves into the film.
I think that it's important to understand, intuitively understand, what you are doing. But when you are doing it you must follow instinct. There has to be a certain level of risk, creating images, characters, emotions, it involves something a little brutal. You must be prepared to go in areas where you lose control.
When I started making films, the people I was hanging out with, the scene in Paris at the time was very much musicians. So once in a while it pops up and I use it as a background. Because there are moments in life when you just have to say hello to your old friends.
Clouds of Sils Maria (2014) deals with an actress, who has to navigate through those different layers of reality - it is pretty much a portrait of Juliette Binoche, as she is today, not a movie with Binoche, but a movie about her. She really brings a lot of herself into this character, so it has fairly deep roots.
[on director Michael Mann] It's miraculous to find such a great stylist in contemporary American cinema. ["La cinémathèque imaginaire", Cine-regards]
I am a fan of Michael Mann; he is one of the most inspired stylists in American cinema today, but it was all there from the start. In Thief (1981), his first feature, you have echoes of Jean-Pierre Melville (it goes full circle), a sharp eye for realism, but also profound human characters with precisely drawn relationships, and great acting. Mann's fascination with a geometrical modernity, even if it is always mediated by genre filmmaking, is genuinely reminiscent of Michelangelo Antonioni - explicitly so in the last scenes of Heat (1995). [Criterion Coll., 2015]
Movies are expressions of our imagination. They are expressions of our conscious and of our subconscious. I think that movies can be analyzed the way dreams are analyzed.

See also

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