Il faut sauver Saïd: le film qui dénonce la violence scolaire

They said this about the Holocaust. It was too overwhelming to show to the public. But the greatest filmmaker of our time shrugged it off and set out to unleash a poetic and disturbing film. He picked up an Academy Award for his candor.

il faut sauver said le film streaming

Download File

Producer, Mark Gordon, was a fan of writer Robert Rodat's previous work on films such as Tall Tale (1995) and Fly Away Home (1996). The pair met in early 1995 to discuss potential projects and ideas. Within a few weeks, Rodat conceived of Saving Private Ryan.[9][10] He was inspired by a gift from his wife, the historical book, "D-Day June 6, 1944: The Climactic Battle of World War II" (1994), by Stephen E. Ambrose, recounting the events of the Normandy landings. Rodat also visited a monument in Keene, New Hampshire dedicated to American soldiers killed in combat; he noticed the losses included brothers. He said, "the idea of losing a son to war is painful beyond description ... the idea of losing more than one son is inconceivable."[10][9][11] The Ryan family was based on the four Niland brothers detailed in Ambrose's book, who were deployed during World War II (WWII); two were killed and a third thought dead, leading to the fourth being removed from the war per the Sole Survivor Policy.[9][12][13]

Describing what interested him about the project, Spielberg said, "so what you're doing is sending eight people out, all of whom have parents, to rescue one boy and send him back to his mom when any or all of these kids, along the mission route, could be killed. That was the central tug that made me want to tell the story."[17] Spielberg had a lifelong interest in WWII, having made war films as a teenager because "growing up, it was the seminal conversation inside my family. My parents talked about the Holocaust and they talked about combat and war. And I was born knowing this. My dad was a veteran ... he had many veterans over to the house, and I became absolutely obsessed ... based on my father's stories, recollections, and also based on all the WWII movies."[18][13][19] He described the project as a tribute to his father.[20]

With Spielberg involved, DreamWorks Pictures, which he co-founded, became involved as a financier, and his company, Amblin Entertainment, as a production company.[10][21][22] Although thoroughly involved on previous projects, Spielberg's clout meant Gordon and Levinsohn were effectively removed from the production, having no creative input, equity, or rights in Saving Private Ryan, but receiving a produce credit and one-off payment. Levinsohn said, "you just know going in what the score is ... I guess it's unspoken that when you hire [Spielberg] you're not going to be on the set making decisions." Ian Bryce was hired to replace them by DreamWorks.[9] In April 1997, Sumner Redstone, chairman of Paramount's parent company Viacom, had Spielberg flip a coin to determine the film's distribution rights. Spielberg won the toss, giving DreamWorks the favored North American distribution rights and Paramount the international rights; all earnings were held collectively and split evenly between the studios. In exchange, Paramount received the North American distrubtion rights to DreamWorks' Deep Impact (1998).[23][10][14][9] To keep the budget low, Spielberg and Hanks took minimal upfront salaries in exchange for a guaranteed 17.5% of the gross profits, equivalent to 35 cents of every dollar earned.[14][9]

Spielberg wanted older actors for his main cast, based on young WWII soldiers looking older than their true age following the stresses of war.[17] Miller is the "adult in the story," intended to project a calmness and feeling of safety that is undermined by the character's uncontrollable hand shaking.[18] Spielberg wanted Hanks to play Miller because he was the only actor he thought of that would not "want to use his teeth to pull out a pin from a hand grenade."[17] Hanks informed Miller's character based on the war history of the 2nd Ranger Battalion prior to Omaha beach, saying he believed Miller was "horribly afraid" of getting more of his men killed.[18] Mel Gibson and Harrison Ford were considered for the role.[35] Miller's detatchment is a diverse group, including a Jew and Italian, reminiscent of earlier WWII films; this was not a deliberate choice but Spielberg believed he had subconsciously drawn on the war films of his youth.[36] Burns describing Reiben as a "wise guy" in the script, but the experience of filming the Omaha Beach landing inspired him to give the character a "much harder edge."[25] Sizemore was cast in The Thin Red Line (1998) when Spielberg offered him an alternative role as Horvath, Miller's friend and confidant.[18][36] The actor had a history of drug addiction, and Spielberg mandated that he pass regular drug tests to keep his part, or the role would be recast and his scenes re-shot.[37][12] Describing his character, Sizemore said, "he was a quiet man; he was taciturn; he followed orders, and he loved the captain ... if he had a tragic flaw, it was that he didn't know when he had had enough, when it was time to say, 'I can't do this anymore.'"[38]

At Hanks's and Dye's suggestion, Spielberg had the principal cast take part in a six day training boot camp training, wanting them to experience the same cold, wet, and exhaustive conditions of WWII soldiers.[12][17][19][13][33] Overseen by Dye and retired U.S. marines, the actors remained in character while simulating attacks, performing five-mile runs with full backpacks, weapons training, military exercises, and push-ups after making mistakes, on three hours of sleep per night in cold and rainy conditions.[12][17][11] The men wanted to quit, but Hanks conviced them otherwise, saying they would regret not following through and the experience would help them understand their characters and motivations.[25][27] Diesel said, "at that moment we got this huge respect for him in real life, we were all exhausted, we all wanted to leave and here was this guy who was a superstar, who doesn't have to be here, voting to stay."[33] Dye was present throughout filming to remind the actors of their training.[25] Spielberg did not let Damon take part in the boot camp because he wanted the other actors to hold resentment towards him and his character.[5][4]

Three months were spent scouting for a location to portray the Normandy coast. The real location was too developed for their needs, and many other French beaches were restricted by military or wildlife use; Spielberg believed officials were difficult because they did not want him filming there.[11][12][25] Beaches researched in England and Scotland lacked either the aesthetics or amenities required, such as housing for the crew, and the filmmakers needed a specific depth for the cast to leap from the landing crafts into the water.[25] Associate producer, Kevin De La Noy's earlier work on Braveheart (1995) in Ireland had developed contacts with the Irish Army and knowledge of local beaches. One such location, the 7 mi (11 km) long Curracloe Beach, near Curracloe, County Wexford, offered the desired golden sands and sheer cliffs and nearby amenities.[25][44][12][11] Spielberg selected a 1 km (0.62 mi) segment of the beach, known as Ballinesker.[45][44][46] He said, "I was a bit disappointed that the beach we used wasn't as broad as the real Omaha Beach ... I tried to use certain wide-angle lenses to extend the length of the flats on the sandy beach before the soldiers reach the shingle. I used wider lenses for geography and tighter lenses for the compression of action.[19] A segment adjacent to Blackwater, County Wexford, was considered, but the local nuns could not make the land available in time.[44] Service roads were built for vehicles to reach Ballinesker.[44][46] Production designer, Thomas E. Sanders, led construction of the concrete battlements, bunkers, Czech hedgehogs, and barbed wire, much of which was made by local metalworkers.[44][46][11] Over eleven weeks were spent preparing Ballinesker for filming.[46] A storm destroyed some of the props just before filming, and were rebuilt overnight.[25] The main crew arrived on location on June 25, 1997.[44]

During filming, the weather was cold, rainy, and overcast; Kamiński said this matched the weather during the Normandy landings, enhancing the film's accuracy.[19][11] Artificial light was used sparingly apart from on the boats to highlight the actors' eyes under their helmets.[11] Spielberg had the camera stay close to the ground to appear as if it was the view of a soldier avoiding being shot or a combat cameraman. He intended for the audience to feel like they were a part of the battle rather than watching voyeuristically.[13][17] Most of Saving Private Ryan was filmed with handheld cameras. This was physically demanding on camera operator, Mitch Dubin, and steadicam operator, Chris Haarhoff, due to both the closeness to the ground and movement through exploding scenery. The camera was close enough that fake blood, water, and sand would stick to the camera lens, but the filmmakers believed this made the footage more authentic.[11][19]

Kamiński considered the extensive setup of explosives, smoke, and choreography of over a thousand characters to be demanding as it could take half a day to reset if something went wrong, but the majority of scenes in the sequence were captured in less than four takes using up to three cameras simultaneously. Spielberg said, "I rarely walked away from a scene until I got what I wanted, and I'd say that I got what I wanted from those complex setups about 80 percent of the time."[11][19] He would review the days footage each night in a local parish hall.[6][46] Production crew remained after filming to restore the beach to its original state over the following month, per an ecological protection order agreed with local authorities.[44][46][11]

The summer theatrical season began in early May with the release of Deep Impact, which became a surprise box office success.[62][63] Studio executives saw its performance as a positive indication that audiences were eager for the upcoming 100 film releases.[63] The heavily promoted Godzilla and Armageddon were expected to be the biggest successes, while executives were hopeful for their more modestly-budgeted films (costing less than $60 million), such as Small Soldiers, The Negotiator, The Parent Trap, and There's Something About Mary to be sleeper hits. Far fewer sequels were scheduled for release than in previous years; one executive explained, "everyone started to realize that a certain amount of originality was required, and if you make a sequel it should be better than the last one."[63][62] There was also less escapist entertainment, and more films targeted at older audiences, such as The Horse Whisperer, The Truman Show, and the highly-anticipated Saving Private Ryan.[63][62][9] Analysis suggested the film's commercial potential could be harmed by its long runtime, limiting the number of times it could be screened daily, in addition to its violent content.[9] DreamWorks' marketing chief, Terry Press, said it was risky to release a serious drama such as Saving Private Ryan in the summer, a time generally reserved for family and escapist entertainment, but this was offset by the popularity of Spielberg and Hanks.[14] A screening for DreamWorks and Paramount executives was highly praised,[10] but Spielberg had low expectations, believing the film was too violent to attract broad audiences.[64] 2ff7e9595c