As Kevin Noonan reported in Variety, “Jean-Claude Carrière will receive an Honorary Oscar at the Academy of Motion Picture Arts and Science’s Governors Awards Saturday, a feather in the cap of a nearly 60-year screenwriting career — but most certainly not an actual cap to it, he says. Known for his numerous collaborations with Luis Buñuel, including co-writing films such as Belle De Jour, The Discreet Charm of the Bourgeoisie and The Milky Way, the French screenwriter earned a reputation for crafting and adapting surreal, seemingly impossible projects. That reputation culminated in his work with English theater and film director Peter Brook to create a nine-hour stage version in 1985 and five-hour film adaptation in 1989 of the epic Sanskrit poem The Mahabharata. Already an Oscar winner for his 1962 short Heureux Anniversaire, Carrière [had these thoughts] his long career, working with Buñuel, and not knowing what an Oscar was.
As Carrière told Noonan, in part, “it’s a good encouragement for the thirty years to come. I’m 83, it’s something that I’m very happy to receive and proud, anybody would be. But I hope it will not announce the end of my working life, you know what I mean? That I keep working and writing. What I’m just doing right now, I’m in a hotel room and I’m writing a script [. . .] I’ve been gratified with good health, and since I was a kid, an intense desire for working. I’m a hard worker.
I’m very, very often alone in my room thinking, writing, correcting. I don’t know what it is. I love my job, maybe that’s the main reason. First of all, you need to have some success at one point. If not, you’ll be desperate and you’ll give up. From time to time, every three times you need a success, and then it gives you a real joy and you will enjoy working. Right now, what I’m doing alone a hotel room, far from my family, from my friends, I enjoy it very much. That’s all I can say. Enjoy working. And don’t smoke. You can drink a little bit, from time to time.
. . . A screenwriter is not a writer. He’s already a filmmaker. Of course, he better know how to write. But he’s not going to write a literary novel or piece of literature. What he must know at every moment when he writes a script, what I’m doing now, he must know how it’s going to be shot, how it will last, and maybe how it will cost. He mustn’t be attached to his words. He knows the script is the first form of a film, the first approach. And here in a hotel room, I have no camera, no lighting, no sound recorder, nothing. I’m just alone with my computer. And I have to know precisely the techniques of the filmmaking.
When I’m working with the director, if the director starts talking to me about technique and I cannot answer, he doesn’t need me. That’s why I’ve been an assistant, I’ve been working with the camera … and also I have done a lot of editing. That’s absolutely essential for a screenwriting. You mustn’t approach the film itself as a playwright or a novelist, but as a filmmaker. And I’m very happy about this Oscar, already almost five or six of my screenwriter colleagues, they called me to say how happy and proud that for once a screenwriter is awarded.”