Trouble at Timpetill - crew, film crew
The entire team, the film crew of the film "Trouble at Timpetill"
Les Enfants de Timpelbach (2008)
Timing:
2:13 (133 min)
6.104/10
371
371
6.873/10
4217
4217
5.8/10
1200
1200
Film crew
Director
Nicolas Bary
Director
Producer
Fabrice Delville
Producer
Alain-Gilles Viellevoye
Producer
Casting
Valérie Espagne
Casting
Editor
Véronique Lange
Editor
Art Direction
Stéphane Cressend
Art Direction
Stanislas Reydellet
Art Direction
Costume Design
Patrick Lebreton
Costume Design
Agnès Beziers
Costume Design
Laurent Kim
Costume Design
Production Design
Olivier Raoux
Production Design
Key Makeup Artist
Béatrice Stephany
Key Makeup Artist
Sound Re-Recording Mixer
Michel Schillings
Sound Re-Recording Mixer
Original Music Composer
Frédéric Talgorn
Original Music Composer
Co-Producer
Aton Soumache
Co-Producer
Alexis Vonarb
Co-Producer
Geneviève Lemal
Co-Producer
Alexandre Lippens
Co-Producer
Lilian Eche
Co-Producer
Director of Photography
Axel Cosnefroy
Director of Photography
Hairstylist
Nathalie De Hen
Hairstylist
Evie Hamels
Hairstylist
Stella Bertiglia
Hairstylist
Screenplay
Nicolas Peufaillit
Screenplay
Fabrice Roger-Lacan
Screenplay
Nicolas Bary
Screenplay
Novel
Henry Winterfeld
Novel
Foley Artist
Philippe van Leer
Foley Artist
Sound Designer
Gwennolé Le Borgne
Sound Designer
Key Hair Stylist
Frank van Wolleghem
Key Hair Stylist
Special Effects Makeup Artist
Nicolas Herlin
Special Effects Makeup Artist
Laetitia Hillion
Special Effects Makeup Artist
Frédéric Lainé
Special Effects Makeup Artist
ADR Recordist
Jean De Sagey
ADR Recordist
Sound
Henri Morelle
Sound
Philippe Vandendriessche
Sound
Wigmaker
Virginie Berland
Wigmaker
What's left behind the scenes
- The film is based on the eponymous children's book by German writer Henry Winterfeld, "Timpetill – the town without parents", which was first published in Switzerland in 1937. The book, in turn, was based on a story that the future writer devised in 1933 for his son Thomas, who was ill with scarlet fever and confined to bed for a long time. He told it in short installments each day during his illness. In French translation, this book is known as "The Children from Timpelbach".
- Future film director Nicolas Berry read Henry Winterfield's book as a child at the age of nine. Three years later, he reread the story, imagining the possibility of sharing the adventures of his favorite characters in the future. Obsessed with the idea of adapting the book for the screen, he observed school productions, interned with film crews, and shot two short films, one of which was directly inspired by 'The Children of Timpelbach'. Seeking to obtain the film rights from the author's heirs, Nicolas Berry contacted producer Dmitry Rassama, with whom he began developing the project, which took four years.
- As is often the case with projects nurtured for many years, Nicolas Berry began working on the screenplay even before meeting Dmitry Rassama and acquiring the rights to the book. However, this 'zero' version of the script was deemed unsatisfactory by its author. The producer suggested Nicolas Pefelly as his partner, who had just finished his work on the screenplay for the crime drama 'A Prophet' (2009). The creative collaboration of the writing duo lasted eighteen months, during which they met continuously every two or three days.
- When approaching the casting for the children's roles, director Nicolas Berry initially wanted to invite exclusively children with no acting experience. His intention was to achieve maximum naturalness and realism. However, he quickly had to abandon this idea. The meticulous director compiled a set of cards, each containing the most detailed information about the young character (psychological profile, distinguishing features, attachments, and status in the village). This greatly helped him directly during the casting of actors for the key roles.
- Dreaming of filming his movie on location rather than in a studio, director Nicolas Berry carefully worked out all the visual aspects of the small village, the main setting of the story, in advance. The search for a suitable location began in Alsace, France, but all the local villages seemed too modern to him. The next target was to be the Aveyron department in southern France, but at that moment news came of an upcoming co-production with Belgium and Luxembourg. It was in these two countries that most of the film was shot.
- A new series of searches for a suitable filming location in Belgium also yielded no results for a long time. The producers, completely desperate, were already ready to agree to studio filming when, by pure chance, they were advised to pay attention to a Walloon village in southern Belgium, where another film was being shot. Once there, director Nicolas Berry fell in love with it at first sight. The fortified village of the seventeenth century was often used for various medieval festivals and was ideal for all the director's purposes.
- Since the film is set in an undefined time period, costume designer Patrick Le Breton mixed modern elements with fashion elements from the 10-30s of the 20th century in the characters' clothing. He also carefully monitored the casting for children's roles to ensure that each actor's clothing reflected their personal qualities and those of their character.
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