by co-screenwriter Thomas Bidegain
Rust and Bone is coming back to America. Even though the film is only opening now in the United States it actually feels like the story is back where it all started.
When we first thought about the film, during the time director/co-writer Jacques Audiard was editing A Prophet, we had a real desire to tell a love story. And a tough one. We used Craig Davidson's collection of short stories for that purpose, as a vehicle to build our desire upon.
We knew that beyond that love story, the film would generate strong, impressive images. Our first references were films like Tod Browning's Freaks, Edmund Goulding's Nightmare Alley or even Charles Laughton's Night of The Hunter. American films, all set during the Great Depression. As if those frightening tales of mistreated bodies and souls were the best way to describe America as it was collapsing into the dark days of recession.
Here we are now, back in times of economic catastrophe, and showing our film here feels like presenting a mirror to the descendants of the people who inspired us so much. It feels like bringing it all back home.
We often think about Rust and Bone as a genre film but a genre that is still difficult for us to identify. A genre we call "melo-trash" for a lack of better word. A tale of simple destinies glorified by the accidents of life and by Love, which is the hero of that story.
I hope the nobleness of Stephanie and Ali, our characters, as well as the unbending willingness they show in order to extract themselves from their condition, will find and echo with today's American audience. Hopefully the film travels across the nation, from city to city, much like the old carnival used to do.