Special Report: Camille Delamarre on Assassin Club (2023)

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Get you next? He need and suffer for somebody's pit us against each other. Women to feel the consequences of what we've done. Hey, folks, won't do a special episode of the Projection Booth. I'm your host, Mike White.

I am walking on this episode with Camille Dellamari, the director of Assassin Club. Mister Delamari has been involved in a lot of films from Luke Bissan, including Transporter three, Taking Two, Lockout and Columbiana. Assassin Club is now streaming. Be sure to check it out and I hope you enjoy the interview. Well, can you tell me how did you get interested in filmmaking?

It's a good question. So so just it's of course I'm a I'm a. I'm just like cinema something when you when you when you watched movie, you have to watch again and again the same movie because this is like a like a real passion. You can see that just really soon and when you're you are young. So so this is some singer for me.

It was IVI don't But also my mother was was editor for Commerce Shows and Dogma in Paris, and my father was a director of the documentary the TV film, so they met together in a editing room. So of course I think when I heard, because it was like in film at this time, when I heard the boom of the of the film when I was in a in a just before I was burner, I think it's it's of course. It gave me the passion for the cinema. What was more of your entree into for making was more the editing or the director. So for me, my goal was to be to become a director.

But I think I am sure editing is in just one of the best school to learn how to be just to make a film and to understand all the process because you have like first director in a chair close to you to ask everything you want, how did you should that? How? Just just give me your secrets and and just you you can see all the matterial we need to build and to edit a film as plus also you are you can follow from from the shooting to the delivery and see all the departments you have to to to to working with to make a film because this is a team worker film is we have a lot of people behind to make a film, so that the editor has a good position for that but when I start to edit some to to be a editor from or action movie, I just I was also a director of commercials, of music video of of small things for sure, but that I always try to play a both and to play with both.

But editing it's also my just passion. I'm feeling like behind my PlayStation and and when I when I editing, that's why I keep working on and I keep editing myself also some parts of scenes of my of all my my work in my movies, because yeah, this is something I have a lot of fun to do. Yeah, I think the first thing that I saw by you that you edited was Transporter three, and you have worked pretty steadily with Luke Boisson and his team for a while. How is that relationship? When I met him and uh and and work on this film at this time, it was a life for me of course, like like a huge because because I was working for French studio with just a producing a lot of action movie and this is pretty rare in French.

In French, you you haven't a lot of studio just with this kind of international action movie. So so yeah, for me, it was of course a chance and I learned a lot and to meet when I when I just I learned so much Public Bason because a good very good teacher, because it has again is a producer but also a director so writer, So just you can you can learn so much from him. And he gave me a lot, and he gave me so my first chance to be a director on a trans on a brick punchions first. So so thanks a lot with this guy. And yeah, just what's a good school to learn to be a director of action movie?

Yeah? What is your philosophy as far as editing? Do you edit more for performance, more for the action, more for the rhythm. I mean, you've done so many different types of editing. I'm curious what your style is or how you define your style.

For me, this is a this is in fact something I'm working with my feelings and not not with the rules or codes or just how For me, it's like an evidence and and something I think there is organic and and just of course my or the some some movies such a Man on Fire or Tony Scott's movie just also teach me a lot about readim about and to understand what I like and and just what is my my style, my own my own readiem and you can see I like us on a dynamic readim and that and even if now it's more trendy to have some long shots, I can't because this is not my This is not what I like and uh and and at the end, I like to to create like a dance and to have something very like like yeah to to in movement and I'm just too yeah to create to make dancing all the footages all together, and just to create something like to avoid to have something to stagey to a to a so so so yeah, just it's it's a game again and process when I'm feeling totally like free and in in a in a connected with what was that experience of directing com mansions.

I'm a huge fan of the B thirteen movies. Were you intimidated at all? Doing a remake? Is one of your first films? Of course for for a young director, French director to have to to have to go in a in a in to shoot in Canada for a few months with a international cast and and of course it was so exciting but also of course a lot of pressure.

But finally I was I was like again from just the begining, like in my in my elements and it was like at the end, not not it's a just a like a very good experience and uh and just and a good start. You you were, you were in this this remake you have also some of course, I had a lot of liberty to just to create some some like original action moment and uh and just and just uh yeah it was it was a act. Just I think there's a better or the better occasion to start my career as a director when you had such a great cast too, I mean with Paul Walker and Riza, who I knew that you worked with again he was the director and you were the editor on one of his projects as well. I haven't the occasion to work to work again with him since a Brick Mansion.

But but yeah, it was. It was when when of course I I I'm a big fan of hip hop music, so so when I when we suggest to call into for this to play in the movie, I was like, Wow, this is a this is a great actor, this is a great director. But also just a legend for me from the hood tank plan and he will give something like real for just for just the villains, strong guy because because yeah he's not he's not like an actor from a from a from a guy from the streets, and and so it was just perfect in this mood and Paul Walker, what a man. I'm just what I can say, I'm very sad and just im just lucky to to meet him, and just he was so nice, so so embold, so talented and just again ready to run with me because it was it was it was like a French production, so not a huge budget.

So the shooting was, the time was a tight and and we had to run and h and everybody was ready to run with me. But since this plastic stalions. It was the same on Transporter and the something on Assassin Club. We are we this is like some action movie, way far from a big franchise, American franchise with with many millions. And and so you have to to find also in your cast some people you without in his startitude and ready to to to make a film with you and just because I need them and I need them just every minute of the of every shooting there so so some people like simple and and with me on the same side and not just again like we are working with passion and with with with hurt Is is is what is my way to work and people I met from the beginning was we're like that.

So I'm very lucky because this is this is the the only recipe to make a to make an action movie in you know, independent way. It's to have like a great cast ready to work with you like you're crazy. But tell me how did Assassin Club come about? I got the script from my agency and I from the WM. I'm just I read the log line and I'm just, oh, this is this is a good concept.

And I read the script and and the original the felt version was was good and uh and just the base was very solid. I'm just I found a just like in the story also like an originality of course a good concept but also for action. But also an originality is we have we have many characters. We have me, some some women characters with with some just emotions more feelings between between a Morgan and and Uh and and Uh and Daniel. So so it's it's not only like a like a like a action movie for just us with a muscle guy with with killing everybody ye like a machine and and only with with with the action and blood, we have also just a real story and Uh and Uh and the real characters with with a weakness and an emotions and also so yeah, it was from all the ingredients in historic to uh to make me like a like just sure, yes, I want to derase this film.

How is Henry Golden to work with it? He's such an unexpected action hero but he just pulls it off so well yeah, just he's a great actor, very talented and very also nice in the in the real life. But as Paul Walker was, just is just is our friend just so so the actor is working with passion and just with ready to give everything to get the better movie at the end. But also yes, is not again he's not like a like a muscle muscle machine with he has a lot of carriers he has He is like a he has a lot of sensibility. And for me, it was exactly the goal for this film.

It's to create like a new generation of action hero, not something someone like like a robot, but like a man who is working as a hit manner but that first a man with with just someone you can you can just feel feel just like a sponsible with and and just not not only just a strong badass guy with with fighting like a crazy but nothing else where did you actually end up shooting this one in Torino, Italy. We found in in this Italian city a real diversity of architectures and and and just we found just yes, some some some streets who are looking like a Paris other other like like history Europe or just a Spain or so of course we we have to shoot some some some some scenes abroad, but mostly the film was shooting in Torino.

What were your biggest challenges on this one? Time and money again to to to to make this this film in a in a very short schedule with with very sharp budget and not again like with the independent where to work and uh and not not just again when you want to to to to accomplish a big chase account action scenes in one day, it's a yeah, it's it's it's a fight against the time. And I'm just so so it was a real challenge to get all the production value and everything I want to have to shoot for for for this kind of big action scene in time. So it was a real like a race against the time. And but it's also in this kind of condition or you just to give you the occasion to work really with passion and to and to be sweat at the end of the day to to be to be just a clowder, to get it down inside.

Not Now I have to ask you, coming from real editing background, are you editing the film in your mind as you're putting this together? Yeah, of course I have. I have, just I'm trying to have like a some something clear in mind before before just to start to shoot a scene that I like to to leave some liberty also during the editing, because again for me, this is an organic process. You can change your your mind if you if finally you want to to to to change the order because yeah, this is a this is but yeah, for action scene for example, this is really important to just to a and and this is one of my skills. It's it's too to be able to build a storyboard and to edit a cinematic or something like that, and to see clearly how the scene will look and what's the kind of reading she will have.

And yeah, this is something easier for me. Now. I know Assassin Club comes out and streaming an N demand on May sixteenth. What's next for you after that? Just many projects in the pipe.

I'm working. I'm developing also own a script, my own a project, and and of course I somehow about action because this is my passion. But some other are also in some different genre with with action, comed easy, general, some some sci fi. I have. I have many projects.

Just thanks truly, mister Delamari, thank you so much for your time. I really appreciate this. You don't want to come. Thank you and and just nesci because for the fast four the fox streaming trying to tell that the water on the suel to the store, I shout out, spake, come by a bush. I'm try and see that in y'all drink, y'all snipers in the net, the home your head.

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