See You At Regis Debray
- Issue #295 (Sep 08) | Published 21/08/08
- Featuring: CS Leigh
- Links: CS Leigh on MySpace
View an exclusive excerpt from CS Leigh's film See You At Regis Debray
- Watch 'See You At Regis Debray (excerpt)' (Stream)?
- File: Quicktime, 481kbps stereo
- Length: 8:49 (30.67MB)
See a specially edited excerpt from CS Leigh's film See You At Regis Debray. In the film Andreas Baader hides in the Paris apartment of Regis Debray in November 1969 while Debray serves a thirty year prison sentence in Bolivia for being a comrade of Che.
The clip was specially edited for use on The Wire site by the director, who explains the film and the motives which led him to create it:
"I’ve actually been working on the idea for this film for over seven years but it took me a long time to figure out how to tell this story. I never wanted to make an historical film. I wanted to make a film about Baader Meinhof though not in a traditional way. And I had this idea early on to make a film with only one person in it.
"There were two sets of images in my head from the beginning, and they were the end of Ulrike Meinhof, her last hours, and those days that Baader spent hiding in Paris in 1969. For a while I thought that I might make two companion films; one on Baader and one on Meinhof but eventually I made a decision to concentrate on Baader.
"On a conceptual level I’d always wanted to make a film with one person in it and as I've made films mostly about solitary women I wanted to do one on a man. I was interested in the idea of looking at somebody who is about to be in motion, who is used to being in motion, but who, for whatever reasons, is completely still and paralysed here. But also the connection to Debray, the connection to Paris - this is 1969 - all those elements interested me."
The clip was specially edited for use on The Wire site by the director, who explains the film and the motives which led him to create it:
"I’ve actually been working on the idea for this film for over seven years but it took me a long time to figure out how to tell this story. I never wanted to make an historical film. I wanted to make a film about Baader Meinhof though not in a traditional way. And I had this idea early on to make a film with only one person in it.
"There were two sets of images in my head from the beginning, and they were the end of Ulrike Meinhof, her last hours, and those days that Baader spent hiding in Paris in 1969. For a while I thought that I might make two companion films; one on Baader and one on Meinhof but eventually I made a decision to concentrate on Baader.
"On a conceptual level I’d always wanted to make a film with one person in it and as I've made films mostly about solitary women I wanted to do one on a man. I was interested in the idea of looking at somebody who is about to be in motion, who is used to being in motion, but who, for whatever reasons, is completely still and paralysed here. But also the connection to Debray, the connection to Paris - this is 1969 - all those elements interested me."