Marjane is also like that in a certain way, but not in her work. Paronnaud: My personal work is totally different from Marjane’s. How do your aesthetic worlds differ and how do they complement one another? We’re still friends, so obviously it worked out. There are always different things that can happen and we don’t want to yell at other people. We both have very strong personalities, but that’s completely normal, because even if you’re very well prepared, you never know when you shoot live action. Sometimes we yell at each other, and then we get back together and make up. Each of us has our defined work, but we still talk about what just happened in the scene we shot. We define what our roles are going to be on set, because to have a snake with two heads is silly. Marjane and I don’t stop speaking once we’re on the set. I was doing more the technical stuff, the framing and the camera work, and she was working more with the actors.
Once we were on the set, we each did different kinds of work. We had a storyboard and we had everything ready. We even film each other and we start to imagine things so that we are ready, because when you start shooting, it’s pretty stressful. Paronnaud: We always work together on the script which is very important. As with Persepolis, graphically, we tried to be as close as possible to the book, but the look of Chicken with Plums is totally different.Ĭan you talk about your collaborative process and how the two of you work together? The aesthetics started to appear and it was something different with different rhythms. The book by Marjane was on the desk and we thought “Wow, why don’t we do that?” It’s an adaptation, and while the basis is basically the same, we had to adapt and change it for the movie. Vincent Paronnaud: It was at the end of Persepolis and we had worked pretty hard so we decided to do something different, to get a little bit of fresh air, and to do a live action movie with actors and animation as well. Question: What inspired you to adapt Chicken with Plums to film?
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