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Afterward it was all taken over by the industry, money, and morality. Rap now is depressingly moral, with Good on one side and Evil on the other. It spoke to me, immediately. And in Rencontres au sommet deauville, Harmony Korine meant the same: But how else can they express their rage? That seems to be the only sane form of protest in France. It was a similar reflex on our part. I remember that when Le Pen made it to the second stage of the French presidential race we rushed our cameras out into the street, thinking there would be massive protests. But there was nothing, just a few tame groups of hippies and old-timers. Dissent today can only be physical.

There is no political positioning behind the riots.

The big Western banks have crippled the country. The young people, and not only from the working classes, are all in the streets brawling with cops, burning down the banks. But for an artist this sort Rencontres au sommet deauville real-world, physical confrontation is stimulating. Sometimes the best films or works of art come out of these tensions. In sluggish, placid times, nothing creative happens. But it will always be there. The bad guys are winning, as they always do. Ladj Ly, one of the founders of KTM, directed the film. He lives in Les Bosquets, and comes from one of the largest families living there.

The riots practically began in his building and he immediately went out with his camera. He shot it from inside the riots, like a real civil war. It was one of the first films in which you really saw what happened, raw, rough, and without judgment. It was all locked down during the riots. But I did shoot with Ladj Ly three years ago. We shot student protests, which deteriorated because they were infiltrated by suburban thugs who came to pillage. It was a lot of fun to shoot. From a cinematographic and visual point of view, there was a lot to see and show.

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But they somehow needed to channel their actions better. But they also upset me. The alternatives are living in tents, in the mud, in squats. I said to myself that the younger generation still wants it, even if they have nothing to say. He made films about that political environment, using his vision and what he took from the times. I have values that belong to me, not Rencontres au sommet deauville the preaching of the Left. My silence is part of the package. You take from it what you can. What is upsetting in my video is that I do nothing to explain it. You pull yours out Rencontres au sommet deauville actual social and political violence.

In Stress for Justice, violent kids from the projects come into Paris, and in the M. But for me, blind violence exists, but not gratuitous violence. We see what we want to; that ambiguity is part of my thought process. But one has to ask, are you somewhat fascinated by fascist violence? Those kinds of things make no sense today. Ideals were still there. Today the codes are all mixed up and everyone is lost. What interests me is where to put the cursor. It comes from what I see in protests today, which are so limp and so self-righteous. Either I see stuff that is vapid, cloying, or unbearable, or I see stuff that is too politically engaged, too much like those stupid ranting pamphlets.

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