Charles-Henri Belleville

In nine years 25-year-old Charles-Henri Belleville has directed two features and over sixty shorts, promos and documentaries. He has shot films in New York, Thailand, Madrid, and Paris. He worked in the British film industry for three years distributing films such as LONDON TO BRIGHTON, JOE STRUMMER: THE FUTURE IS UNWRITTEN and IN THE SHADOW OF THE MOON. Last year his debut feature, THE INHERITANCE, was released to great critical acclaim and the DVD was released December 2008. He has also shot a feature-length documentary, MIDNIGHT MADNESS, a review of which can be found here.

What training have you received?

I’m self-taught; I have been making films since I was fifteen years old. Going out there and making it happen is the key; you don’t need to wait for permission to start making films. The best training I could ever have had was directing a micro-budget film like THE INHERITANCE where I had full control, and the film I have just finished, MIDNIGHT MADNESS, in which I didn’t have full control. This was a good experience. You get experience when a project doesn’t quite go to plan. I’m still making mistakes and learning. I’m not happy with my films. This is healthy. The day I think I have made a perfect film is the day I will die as a filmmaker.

What kind of projects attract you?

A good story. A story that seduces me and really takes me on a journey. I know when I find an interesting story as I become obsessed very quickly. My mind races though every minute detail of the story. I’m unable to focus on anything but the story. I dream about the story. I wake my girlfriend and talk through my ideas. Finding a good story is like falling in love.

What’s the best advice you’ve been given as a director?

Take it easy, play it smooth, and fight like a motherfucker.

Most significant moment in your career so far?

6.30am. Watching the most beautiful sunrise on the Isle of Skye on my last day of THE INHERITANCE shoot. We shot the hell out of the last scenes. We achieved 120 set-ups in one day. I called wrap. The sun was setting. I was slugging a bottle of whisky. It was a moment of reflection and intense euphoria. All my emotions heightened. I closed my eyes. I had made a feature film.

You’ll die happy when…

We make love not war. ■