Lot-et-Garonne: A “barjo” film for the Agenais Léo Therial

the essential
The filming of “Día de Gloria”, fiction filmed and broadcast live, ended on Sunday, April 24 at 8:00 p.m. with the results of the presidential election. Léo Therial, general manager, talks about the challenges faced.

Léo Therial, 31, discovered management just a year ago, in the short film “les filles du sin”, also shot in Lot-et-Garonne. Initially in charge of decoration at the cinema, Léo changes to general manager overnight.

What is the role of a general manager?

Being CEO means first and foremost to take care of logistics. We welcome film crews and actors, take care of accommodation, car rental, transport all technical equipment. We also work closely with local authorities if we need orders to, for example, block roads. It’s also great teamwork. Every day we face problems that we must solve quickly. In this session, I worked together with Jouaed Chellah. Pierre Neraud was in charge of the stage direction and Raphaël and Betty were the assistant directors, not to mention the 8 assistant directors. We are also masters of the keys: we open and close the sets. In general we have to manage the day to day of the set so that everything goes well.

Why did you choose Laroque-Timbaut as a filming location?

Initially we were looking for a station for the scene of the arrival of Félix Moati’s character. Being from Bajamont and knowing the region well, I advised Jeanne Frenkel and Cosme Castro, the two directors, to visit the charming station in the town of Laroque-Timbaut. However, after several technical explorations, we realized that the topography of the place was not going to comply with the video signal. We had to add an additional 34 repeater antennas for optimal live streaming. After touring the department, Jeanne and Cosme finally returned to the initial idea, Laroque Timbaut. In addition, the Lot-et-Garonne filming office has already made them a proposal for a new project.

How does this shoot stand out?

This project is completely independent. We overcome an incredible number of technical challenges. No one had ever embarked on a plan like this. We have already shot the film in a sequence shot, that is, the camera must not stop shooting while maintaining very fluid movements. Two scenes were quite problematic: for the car scene, we had attached a large hook to the car equipped with an electromagnet on which the camera rested. When the car stopped, the camera was unhooked, the cinematographer shouldered the camera, and all that at breakneck speed. The scooter scene shot from above is also quite impressive. Without stopping filming, we quickly hung the camera on a cinema crane on which there was a basket.

How does living work?

In order for the images to be transmitted live, a signal must be established between the camera and the “direct control room” installed in the heart of the village. Once this contact is established, thanks to some thirty repeater antennas installed at strategic points and fiber, direct control is responsible for retransmitting the live images. For the car scene, an electric follower truck was fitted with a mast with an antenna that picked up the signal from the camera.

How did you think of the outfits?

The idea of ​​making a sequence shot in four different rooms crossing periods and sets is really incredible. A team of five technicians launches into a race against the clock. Once the cover is released, the team must remove, modify and replace the piece of furniture in a certain time without being seen in the image.

And for the music?

Musician Flavien Berger won the challenge hands down. Installed in a food truck in the town square of Laroque-Timbaut, he managed to play his electro music live. Arriving a few days before without having composed anything, he managed in record time to soak up the film to find a melody that adhered as much as possible to the project.

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