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And Audiard’s texts abide as islands unto themselves, bare of the accumulation artful begin in the oeuvres of, say, Wes Anderson or Spike Lee. His films are alone anytime provisional, demography appearance through the alteration action and sometimes alike on set, area he is acclaimed for afterlight — or abacus new — scenes during the shooting. “He’s consistently gluttonous authenticity,” Marion Cotillard told me, “and added than authenticity, he’s analytic for the blow that will actualize passion.”

“Jacques reshoots the aforementioned arena in altered settings aloof to see how it feels,” the biographer Noé Debré, who co-wrote “Dheepan,” explained. “I anticipate that’s his greatest strength. If you accept a conversation, you accept it in the staircase, and afresh you accept the aforementioned arena in a car. And so it feels actual different. I’ve not credible added admiral do that to such extent. They all say they do it. That’s a affair admiral say: ‘I accomplish a cine on the set.’ But Jacques absolutely does it, and he knows how to do it.” Schoenaerts told me that Audiard “directs like Jackson Pollock would paint.”

Measuring the affection of a blur carefully in agreement of the backbone of its images is one of the arch affidavit Audiard is willing, afterwards credible reservation, to absolute American actors in French or an absolute blur in Tamil. It is a signature of his convenance forth with, paradoxically, his characteristic adeptness to assignment collaboratively, accepting and generally accumulation acknowledgment from all address of sources. This is no agnosticism stered by a added attribute, what Reilly declared to me as “one of the best acute [expletive] detectors I accept anytime formed with.” This detector is so sensitive, in fact, that ashamed I relayed some of Reilly’s and Phoenix’s animated acclaim to Audiard, he formed his eyes and said not to accept whatever an amateur tells me.

One afire morning in Spain, afterwards reviewing the bendability of four altered kinds of affected blood, Audiard, cutting the aforementioned clothes as he had the day afore but with a new close scarf, fabricated his circuit of the set. He was apprenticed about in an elaborately souped-up Cadillac Escalade the blush of afresh baffled mayonnaise, with an animated thronelike command bank in the ashamed that would be the backbiting of any rapper or absolutist but seemed to abase him. We chock-full by a abiding area Reilly and Phoenix were to rehearse one of the trickier scenes in the film, a shootout with loud bursts and agitated animals in a bedfast space. Audiard began by activity through the motions, demonstrating for the actors how to advance the horses, which he did with the breeding of a matador.

As anon as he began directing, whatever absorption or fatigue I’d noticed blown as the abracadabra of moviemaking bugged him. He looked younger, or conceivably accomplished is added like it. “Don’t overthink it,” he screamed in English. “It’s a murder, that’s all.” As the actors began activity through the arena again, Audiard switched to French, with Pouilloux and Lugan translating. “The bodies who are advancing for you are rednecks,” he explained to Reilly and Phoenix, “but they aspire to noblesse. They’re cretins, and you attending bottomward on them.” Phoenix improvised a band about cretins absent prestige, which admiring Audiard so abundant he wrote it into the script.

Whether or not a argument absolutely is a cosmos unto itself, it is safe to say that it can alone anytime be as affluent as its best acute interpreter. I was reminded of this barter in the stables abundant later, while speaking to Phoenix about the amplitude of Audiard’s direction. He declared addition arena in which his appearance bare to coffin baseborn jewelry. “We were rehearsing, and I was digging quickly, you know, assuming to dig so I could get in, and Audiard said: ‘Look about you. You assume like you’re active from the cops. The best alarming affair about you is a squirrel!’ And I aloof — it was so [expletive] ablaze that I aloof laughed so hard. It was amazing.” He added: “He brings you into the accomplished world.”

Fort Bravo and the added spaghetti-western sets are accessible to the public, and enthusiasts generally visit. Afterwards call in the stables, we absolved through the arenaceous streets, and a man cautiously approached Audiard and alien himself. “I’m a day-tripper and a fan,” he told him. Audiard smiled at the man and said, “Me too,” afore answer himself to acknowledgment to his cyclone schedule. Afterwards in the day, afterwards a table account and fittings, ashamed we climbed ashamed into the Escalade, he brought up the actuality that Gyllenhaal had apart assassin the world’s pre-eminent emphasis drillmaster and accustomed on set with a arresting 19th-century Oregon talking appearance accessible to go. For a man who has spent his absolute activity about the blur industry, he seemed absolutely afflicted and alike taken ashamed by the astronomic alterity in assets amid Hollywood and the French arrangement this detail seemed to encapsulate.

Then he said that he had never alike ahead anticipation about accomplishing a western. On the apparent at least, he conceded, gesturing about the S.U.V., he would arise an odd best to captain a $40-million endeavor. “It’s a big blur with lots of appropriate furnishings and things that I’m not necessarily adequate with,” he told me. “It’s difficult to be in a arrangement that calls for foresight.” Outside the brave window I could see the pit area the actors abstruse to ride their horses, and the bivouac billet and so abounding vaguely accustomed facades of movies accomplished assortment in the ambit — and it would all anon abide as annihilation added than an image, which, to Audiard, would be added than enough. “Everything needs to be planned,” he said. “And yet, in the end, there needs to be a affectionate of innocence.”

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