Ten, Ten Games, Play Ten Games
It’s Lino Ventura. Jacques Becker had given Ventura a book named “The Big Risk”. Ventura had read the book. And he had told me: “Here, “if you accept, I’ll be the protagonist.” On that subject, he asked me if I knew a director, if I could find a director who could do this. Me, I didn’t know anybody. I didn’t have anybody to propose. That was in , me, I got out of prison months before. He told me: “Listen, I know somebody “who never made a film, whom I’ve had as an assistant, “but I’m sure he has the talent needed.” He gave me an appointment that night, at Bois de Boulogne, where Edouard Molinaro filmed a scene in which the taxi drivers turned on their lights in a half-circle and stalked Ventura. So I got there, I saw a guy who smoked, he smoked a lot, Claude, he was there, with the collar of his overcoat turned up, and I said “Are you Claude Sautet?”, he said “Yes”. He told me “I’ve read your book”. That’s how it started. What encouraged me, is when I worked with Becker, yes, inevitably. And Franju. With Franju, when I made “Eyes Without a Face”. I saw how he started out, with a subterranean tenacity, to make the film he wanted to make. That really encouraged me, I told myself: “Oh yes, it could happen that I could make a film.” Even with a script made by someone else. That’s how I ended up telling myself: “Yeah, really, “I can make The Big Risk”. What I liked in this film, was its physical character. “I’ll work it out with physical presence”. I told myself, this physical presence sets off a density which I almost never see in French cinema in which dialogue is the main mover. And I told myself: “It’s a film in which “I won’t move almost nothing by dialogue.” – Anyway, you don’t have a choice. – Perhaps it’s worse in Turin. And that’s why we said: “We have to reduce speech to phrases “in order to let the physical anxiety of characters speak for itself.” All through the start of the film, one feels the excitement of that setting. It was that emotion, which I feel myself, to show by means of what I call “pure cinema”
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