So this is one of the weirder interviews. It took several tries to connect with French director Frederic Jardin in France thanks to bad phone lines.
When we finally speak, his English isn't great, so his partner listens in to my questions and translates them into French for him.
Jardin then answers in English for me, but often switches back to French to ask his translator how to say certain words in English.
It's like talking to two people at once. Still, it is a lot of fun.
"I wanted to make a film noir about a son and a father," Jardin says in his thick French accent, often pausing to think of the right word to say.
"I wanted to talk about a father who is not a very good father at the beginning but who becomes a hero for his son during one night."
Set almost entirely within a sprawling Paris nightclub over one night, Jardin's Sleepless Night plays something like Taken meets Frantic meets Ronin.
The possibly dirty cop Vincent (Tomer Sisley) nabs a case full of cocaine with his partner in the opening scene. When the coke's owner (Serge Riaboukine) takes his teenage son hostage in his club, Vincent must trade the drugs for his son while eluding the internal affairs officers closing in on him.
The relentless cat-and-mouse game goes on as naive clubbers dance to the pulsating beat.
"I think he's a good cop and terrible father in the beginning," Jardin says. "And he becomes a good father — a hero for his son — in the end."
Perhaps he misunderstood my next question, but when asked what inspired him to write Sleepless Night, Jardin gives a surprising answer.
"I'm very interested in South Korean films," he says. "I really like (Bong Joon-ho's) films such as Mother, Memories of Murder and The Host. They are violent but very realistic, and I really like that style of filmmaking."
Indeed, Sleepless Night ratchets up the realistic violence as it goes along, with Vincent stabbed and bleeding but having to keep his wits — and his fists — about him to escape with his life — and his son.
"It's all about chaos and disorder, and that's very hard to direct," Jardin says. It was so hard to direct that he had to shoot it in three countries to appease investors from each country.
"I wrote the script as a small project — just three million euros — to take place all in one place; the nightclub," he says.
"But I had to shoot it in France, Luxembourg and Belgium. So we shot all the dance-floor scenes in France, all the kitchen scenes in Luxembourg and all the office scenes in Belgium.
"Those locations and all the extras became a character in themselves. So it became very complicated to keep the continuity."
Continuity problems aside, the claustrophobic thriller climaxes in a kitchen with one of the best mano-a-mano smackdowns in recent memory, as an already exhausted Vincent goes face-to-fist with a dogged but possibly dirty internal affairs cop. Pots, pans and dishwashers are used in ways for which they were never designed.
"I wanted our two major characters to fight like dogs," Jardin says after consulting his translator for the right words. "I wanted an exhausting fight with a lot of sweat and neither wanting to relent.
I wanted it more realistic than the shaky hand-held cams you see in Taken or the Bourne films.
"So I used a moving camera — all our cameras are on the shoulder — so it's not all clean shots but it's very realistic."
I finish by asking Jardin about the Hollywood remake that is already under way. He answers with a Frenchman's typical disdain for America.
"I sold the rights to a US remake and they are writing the script and have a director, but I'm not much interested in it," he says.
"I sold the rights, so I have the money to make my next film, which I'm writing right now."
Jardin says it will be about a female action-hero next time, when his English "should have vastly improved".Sleepless Night is on at Joondalup Pines at 8pm every day from Tuesday until December 16.
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