“In the middle of the shoot he told me, ‘I’ve learned to love making movies again - I was a star, now I want to be an actor,’ ” Leclercq said. He took Van Damme aside and asked him to let go of all those showbiz accouterments it worked.
#LAST GANGLAND MOVIE MOVIE#
“I said to myself - and he knows that, I told him - that he was going to be a pain in the butt, his world was going to be a pain in the butt, his entourage was going to be a pain in the butt, and I could mess up the movie if he doesn’t listen to me,” Leclercq said. Now we’re in Brussels and in the port of Antwerp, which is a hub for drugs coming from South America, and we’re not dealing with kilos anymore, but with tons. “‘The Crew’ was set in a Parisian suburb and involved kilos of coke. “We tried to amplify every aspect,” Leclercq said. In both, Bouajila, 55, plays the stone-faced, charismatic leader of a thieving ring, but they are not the same characters and the story lines are unrelated.
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In French, the series has the same title, “Braqueurs,” as a Leclercq movie from 2015, known in the United States as “The Crew” (1:21). “So we wanted to grab the viewer from the start and not let go until the last episode.” “Very often when there are eight episodes you feel that you could get rid of one or two,” Hlioua said. Still, Leclercq and Hlioua were conscious that bloat would be a constant threat. I’ve watched ‘True Detective’ five times, ‘Breaking Bad’ three times.” “I think all filmmakers today have fantasies of tackling a series,” said Leclercq, 42, a burly, loquacious man sporting tattooed knuckles. But now there is room for the human foibles and interpersonal dynamics - and even hints at back stories - that Leclercq usually dispenses with.
With its expanded parameters, however, the “Ganglands” engine can pull a few more cars.Īs usual, the core of the story is simple: Shaïnez (Sofia Lesaffre) is abducted after she and her girlfriend, Liana (Tracy Gotoas), impulsively steal drugs from the wrong guy, and only Shaïnez’s uncle, Mehdi, can help set her free. Leclercq’s work can feel like a single locomotive speeding ahead on straight rails - the entire plot of “Earth and Blood” boils down to an extended showdown between a sawmill owner and dealers looking for a stolen stash. His films have performed so well internationally for Netflix that the company, which had historically only licensed Leclercq’s movies for streaming, signed on as the primary distributor for his 2020 feature, “Earth and Blood” (1:20). This “show, don’t tell” approach may be one reason Leclercq’s austere style, somewhere between Jean-Pierre Melville and Clint Eastwood, needs little translation: There are few subtitles to discourage those allergic to them.
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