From Film Comment (March-April 1974). — J.R.
December 7: To enter the sound stage at Epinay-sur-Seine, a Parisian suburb where Alain Resnais is working on his new film about Alexandre Stavisky, you have to go through a heavy door that resembles the entrance to a bank vault, where you’re promptly greeted by Alexandre, a friendly dog who seems to be serving as the crew’s mascot (a younger dog named Sacha figures in the cast). Continuing past Alexandre, you weave your way through a labyrinth of construction that eventually resolves itself into a gargantuan neo-Lubitsch set comprising Stavisky’s office complex — a rather awesome 1933 décor the size of a country house that took forty people a month to build, even though it’ll only be used for a relatively short part of the film.
It’s the kind of set you can get lost in, with multiple exits and three separate stairways leading off of a giant central conference room with golden chandeliers, a large semi-circular table, light-green walls, tall windows with pink drapes, and no ceiling; a set where long hallways on the second landing go past doors that open on nothing, and members of the lighting crew move about in obscure corners carrying equipment and muttering to themselves.… Read more »