Photo: Jacques Nadeau Le Devoir
The filmmakers of the short film “Theatre autumn” Mathieu Barrette, and Myriam Coulombe
Short film of Mathieu Barrette, and Myriam Coulombe, autumn Theatre throws the spectator on the stage of the Théâtre du Bic where he is welcomed by Eudore Belzile, Fanny Mallette and Steven Lee Potvin. Barely has the time to tame the theatrical space around him that he is forced to replace at short notice a player of the piece. Then, he rushed in the midst of nature, where he witnessed a murder committed in cold blood. It is no longer a theatre actor, but the character of a drama that materializes in front of his eyes.
From one plane to the other, the viewer has the impression of being an invisible entity or dreaming awake. Then he observes the space around him, he is startled when a character rises up before him, felt a slight dizziness during a shooting in the dive, feel the slow rolling of the vehicle where it takes place, on the road as well as on the water, and this, without having to leave the comfort of his living room. Welcome in the virtual reality.
“As it is at the beginning of the virtual reality, before even writing the first pages of the scenario, the idea was to find a simple idea, very rooted in the imaginary human for a long time, is what it’s like to be in the skin of a comedian. It has, therefore, played with the position of the viewer to deal with it, ” explains Mathieu Barrette.
“Before autumn Theatre, we often say that the fiction in virtual reality, it does not exist. I believe that it is mostly a fear is expressed because technically, it is more difficult to make the fiction into virtual reality. We wanted to make a real movie, and the first goal, it was to bring the emotion. We were very prepared, but it has taken a lot of risks, we tried things. In the end, we were lucky, ” remembers Myriam Coulombe.
The actors were all aware that the game they were going to deliver was in the clips. We could not go “puncher” an emotion with a big plan. This is the reality that we are doing, nothing can tamper with it.
While they wrote their short film in virtual reality, Mathieu Barrette, and Myriam Coulombe stepped into unknown land, ignoring the possibilities of camera movements, the editing and the impact of the presence of the actors speaking directly to the camera. Both wanted to offer the viewer something other than a simple contemplative experience with this film shot in Bic and Trois-Pistoles.
Using a camera with eight goals, the team of the film had to be hidden in various places in order not to appear in the field. As they were often wide shots, the two filmmakers were so very far from the actors to which they had to scream their indications. In the scenes where she was alone, Fanny Mallette had it-even yelling ” cut ! “.
“As an actress, you have the impression to participate in the creation,” says Fanny Mallette. As it is rotated to the 360, you are always at the heart of it all. In the scene on the boat, everyone was hidden, so I had to lead, I take the body for the swing to the water. This is really the essence of the game like when we were little. There actually is a freedom that is not otherwise found. “
Photo: Mathieu Germain
Using a camera with eight goals, the team of the film had to be hidden in various places in order not to appear in the field.
“The players were all aware that the game they were going to deliver was in the clips. We could not go to puncher an emotion with a big plan. This is the reality that we are doing, nothing can tamper with, ” recalls Myriam Coulombe.
The actress continues : “It was like playing at the theater and I thought the parallel was interesting. You don’t do it at the cinema, play in one value plan. What I like very much the cinema, the plans are very broad, as much as an actress than as a spectator. As an actress, all plays, every movement, every object, everything is an integral part of the scene. Everything was like that in Theatre fall, that’s why I thought it was theatrical, except that it was played so intimate as in the cinema. “
Mathieu Barrette noted that these are not the greatest filmmakers who attempt the adventure virtual. The pioneers come to the theatre, such as Robert Lepage (the exhibition, The library, night at the Museum of civilization), and Brigitte Poupart (the short film on The reserve, after the Scriptorium by Paul Auster), or the circus, as Felix Lajeunesse and Paul Raphael (the production Through the Maks of Luzia in collaboration with Cirque du Soleil). Myriam Coulombe note that this technology is also being developed in the field of health for the creation of forms of therapy to combat phobias, to help autistic and schizophrenic to grips with new environments.
“Virtual reality is often referred to as the machine empathy ; emotions that we live in are real. We cannot imagine to what point it is necessary to think of the movements and at the height of the camera in order not to create discomfort in the viewer. I often hear designers say that it is in the process of creating the codes of the virtual reality, it bears the responsibility. It is not in the process of adapting the cinema to virtual reality, is a movie, ” says the director.
Presented at the Festival du nouveau cinéma and the Festival Fenomens in Barcelona last autumn, autumn Theatre has been seen by over a thousand spectators. While they are working on another virtual reality project, the two artists of the Bas-Saint-Laurent want their short film to continue to advance. “We would like to see the Rendez-vous du cinéma québécois take it. It is necessary that the film exists, that it is seen. After all, this is the first short film of fiction of quebec (in virtual reality, ” concludes Mathieu Barrette.