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 | presentation: 
 Before undertaking our second year of university 
dedicated to 16mm film, Stéphan Fortin and I wanted to start by 
confronting the difficulties of shooting in Super 8. From the first days
 of September, we had gathered friends together to shoot this short 
film. I woke up one morning with the whole script in my head: a 
spaghetti western with no guns. I called my two childhood friends who 
had studied theatre and offered them the text. They accepted. The 
Programme d’Aide aux Jeunes Créateurs didn’t yet exist, so I 
wrote, naively, to a handful of company directors to ask them for a 
little money to pay for the equipment and film. Only Pierre 
Péladeau replied (probably because he had been a friend of my 
father’s in their youth). I never knew whether or not he’d read the 
script, but he sent us a cheque for $150, which was used for the wrap 
party.
 
 My only disappointment about this shoot was not 
having been able to integrate the close-ups of the girls’ eyes. We 
wanted to film them like those of Clint Eastwood or Charles Bronson: 
that is, menacing.
 
                        
                      
                       
                        
                          
                            | We’d forgotten that these kinds of westerns were shot in 1.85, or Cinemascope..The square format of Super 8 gave us an effect that 
was             
 far less interesting...
 
 |  
                        
                        I would like to pay tribute here to Diane 
Jutras, the camerawoman. One day, after five hours spent under the blimp
 with her eye stuck to the camera, shooting wonderful and very steady 
360 degree pans, she asked, very kindly, if we could take “a little 
break and have a little something to eat.” Her wan face as it emerged 
from under the cover was so eloquent that it served as a lesson to me 
for the rest of my life: never to trust in my own adrenaline level, and 
to think of the crew.
 
 Thanks to Barbara Jane and Studio D at the NFB, 
we finished the film in 16mm and thus obtained proper distribution.
 
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 | 
 awards and press:
 
 Grand Prize, Film category,
                      Quebec competition and
 Best Actor Award Union des Artistes to Marie-Hélène Montpetit
 Festival du Jeune Cinéma de
                      Montréal, March 1987
 
                        
                          credits
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                            | «In
 the Quebec section, another obvious choice: By Attrition, by 
Jeanne  Crépeau and Stéphan Fortin. The precision of 
its dialogues, its technical quality, its pursuit of a truly cinematic 
form, and very convincing performances by both actresses, all contrbute 
in making this short film an excellent filmmaking debut.» Michel Beauchamp in Le Matin
 
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 Jo (the blonde)
 Isabelle Miquelon
 
 Lou (the brunette)
 Marie-Hélène Montpetit
 
 screenplay and director
 Jeanne Crépeau
 
 director of photography
 Stéphan Fortin
 
 camera
 Diane Jutras
 
 camera assistant
 Chantal Neveu
 
 sound
 Richard Lavoie
 
 boom
 Cyr-Marc Débien
 
 location manager
 Maurice Van Themsche
 
 continuity
 Sylvie Lamarre
 
 costumes and sets
 Giannina Gouin
 
 make up
 Cristina Gouin
 
 shooting stills
 Louise Oligny
 
 production assistants
 Daniel Bruneau, Josée Cardinal
 André Goulet, Marc Langlois
 Suzanne Lebrun, Robert Préfontaine
 and Robert Tremblay
 
 video images
 Maurice Van Themsche
 
 editing
 Jeanne Crépeau and
 Stéphane Fortin
 
 sound design
 Serge Lafortune
 
 titles
 Sylvain Fréchette
 
 administration
 Cristina Gouin
 
 thanks to
 Maryse and Jean-Pierre
 Shawn and Serge
 Edouardo and Nathalie
 Alain and Daniel
 Igor and Denis
 Marie-Lise and Michel
 Myriam and Philippe
 Jean-Claude and Johanne
 Diane and Jean.
 
 thanks to Kim, Michel and Sylvaine
 and (not credited) Catherine and Carlos
 
 
 This film could'nt have been done without the
 personnal commitment of every cast and crew member
 and the technical assistance of Studio D of the
 National Film Board of Canada
 
 
 production Hétérétrange et
                        oclite 1985
 
 
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