En 2018, il était le premier invité du Vidéo Club. 4 ans après, Quentin Dupieux revient avec beaucoup plus d’amour que dans le premier. Le 35mm ça l’emmerde, Gaston Lagaffe il déteste mais spoiler : il adore Les Bronzés.
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00:00 There's a lot of leather, concentrated in 1h30
00:02 It's the most beautiful vomit of recent cinema
00:04 After that, it's a pain in the ass
00:05 I really like this movie, really
00:07 I'm watching how he's working
00:09 Nice, yeah
00:11 Quentin, welcome
00:21 Hi, again
00:22 For the second time
00:23 In 4 years
00:24 Because you were the first one we did
00:25 At the time, we didn't really know what it looked like
00:26 The guinea pig
00:27 And you told me
00:28 That you thought it was a shame
00:30 That you couldn't talk about your favorite movies at the time
00:32 Yeah, that's not it
00:32 I was delivered to myself in a video club
00:35 So spontaneously, I only took the things that pissed me off
00:37 Because I'm a guy like that
00:38 And so, it's a bit like
00:40 Joe the critic
00:41 And supposedly, like, great American cinema
00:44 In fact, it's a big shit
00:45 After that, it's also boring
00:47 A guy who only says good things
00:48 "Ah, that's great, that's great"
00:49 Basically, everything is boring
00:51 But we're going to try to do something
00:52 The opposite
00:53 Medium, something in between
00:54 Half critic, half raisin
00:56 It's a real thing that I feel when I'm here
00:57 It's that I realize that I'm not a cinephile
00:59 I mean, there are a lot of movies that I like
01:00 And that I have left
01:01 And that are super anchored
01:03 But I'm not greedy
01:04 I was totally into it
01:04 Of course, when I was younger, I only did that
01:06 I actually told you about that
01:08 Because I'm a little tired of it
01:13 When I ask myself the question
01:14 What do I like?
01:15 What do I like?
01:16 I think there are old stuff
01:17 Like the guys my age
01:18 And in fact, I also like
01:20 I prefer when I discover a new movie
01:23 I like to have a modern image
01:25 I'm fed up with 35mm
01:27 I feel like I'm watching Cousteau's movies
01:29 So when I discover something that is modern
01:30 That is in my time and all that
01:31 And that I like it and that I'm surprised
01:33 Because I went to see it
01:34 I didn't even know what it was
01:35 I just liked the poster and the image
01:37 And I thought it was very beautiful
01:38 I don't know if I'm going to watch it again
01:40 It didn't impress me for life
01:41 But in any case, I love the modernity of the movie
01:44 And I love the
01:45 It has the merit of being
01:47 How to say ?
01:47 A little bit surprising
01:49 I go to the cinema
01:49 I go to the cinema as soon as I ...
01:50 Yeah, as soon as there's something that attracts me
01:52 I saw "The Golden Palm"
01:53 I thought it was great
01:54 It's a bit long
01:55 Indeed, it's fun and stuff
01:57 But it's still ...
01:57 It's way above a lot of things
01:59 It's very pleasant
02:00 And if someone has the answer
02:01 I don't know how they did the vomit
02:03 It's the most beautiful vomits of recent cinema
02:06 I would like to be clarified on that
02:07 I don't know how to make this beautiful vomit
02:08 For me, it's a masterpiece
02:14 So Blake Edwards is the guy who did
02:15 "Panthers" and all that
02:17 With Peter Sellers who did "The Party"
02:18 I think it's his best known movie
02:20 That, indeed, it's hard to find
02:21 When I was writing "Reality"
02:26 There was a bit of a will to be in it
02:27 Well, it's very far, of course
02:28 But it's a bit of a breakthrough in Hollywood
02:32 With the turpitude of a director
02:33 Who becomes a barjot, actually
02:35 Because his movie doesn't work
02:36 And he wants to remake an erotic version
02:38 And that's it
02:48 Well, it's almost impossible to tell
02:50 But to give you the tone
02:51 There's a guy who dies at the beginning on the beach
02:53 The corpse remains all the movie on the beach
02:55 That's to give you a bit of the mood of the movie
02:57 It's a depressive movie
02:59 But hilarious
03:00 But really
03:01 Deeply depressive on the cinema
03:03 And on the madness of a guy who
03:05 Who loses his pedals with success, etc.
03:08 For me, it's the best Blake Edwards
03:09 But it's a failure
03:10 That's what I like a lot about this movie
03:12 It's not
03:13 It's not his most obvious movie
03:15 There are some stupid scenes
03:16 But it's very beautiful
03:17 The end is sublime
03:18 It's a bit experimental at times
03:20 I realized while doing my list
03:21 I'm very, very
03:23 Very Franco-French and American
03:25 It's really not exciting
03:26 As I said, I'm not a gourmet cinephile
03:28 So the tanned people
03:29 Indeed
03:30 No, but that's great
03:32 Is the bathrobe comfortable?
03:34 It's suddenly hitting you
03:36 In real life
03:38 You offer me any
03:39 Even if we watch a classic
03:42 Or I don't know what
03:42 Or a big movie
03:43 Or whatever you want
03:45 I prefer to watch that
03:46 Because it's
03:47 Completely un-dramatized
03:48 Cinema is actually that
03:50 It's mostly that
03:51 For me
03:52 After, indeed
03:54 I love things that fly a little higher
03:56 We talked
03:57 You know, you took me out of "Beau père"
03:58 You want to make love with me, Rémy
03:59 I feel it
04:00 Why lie to yourself?
04:01 In your room
04:04 This is a very embarrassing big movie
04:06 But it's a very, very beautiful movie
04:07 And then it's
04:09 These are movies that we no longer see
04:10 That no longer exist
04:11 That are no longer made
04:12 Because there is no longer
04:13 This kind of vision
04:15 That this guy had
04:16 Well, he still has it
04:17 Sorry, he's not dead
04:18 We love him a lot
04:19 Same, "Le charme discret"
04:20 You took it out for me, of course
04:21 No system can ever give the people
04:24 All the refinement they want
04:25 And yet you know me
04:27 I'm not a reactionary
04:29 That's for me
04:30 A pretty fascinating thing
04:32 When I was young
04:32 I made a little shitty short films
04:34 And I was trying
04:36 A little
04:36 To reach this level of abstraction
04:39 I hadn't even written a script yet
04:40 I was already trying to break the writing and all that
04:42 So it wasn't good
04:44 It wasn't a success
04:44 But a friend
04:46 Put me on the sail
04:47 Said, "Be careful, there's a guy who's already done that
04:49 And who did it very well
04:51 So get in touch, watch it"
04:52 And it really hit me
04:54 But then it's something that comes back
04:56 Despite me
04:57 I think I told you last time
04:58 You see, in "Au poste"
05:00 My quote from Bunuel is unconscious
05:01 Because
05:03 When I write it
05:03 I don't even realize
05:05 That I'm quoting
05:07 This masterpiece
05:08 It was bothering me for a few minutes
05:09 I thought, "Fuck it, I didn't even notice
05:11 That it was a quote"
05:13 But it's okay, everyone takes it
05:15 And that's cinema
05:15 By the way, there's another French film
05:17 You wanted to talk about
05:19 No, it was a joke
05:21 He doesn't take it anymore
05:22 No, I take it
05:23 You want us to go?
05:24 No
05:24 With a friend of mine
05:25 A very good friend
05:25 The simple vision of the trailer
05:27 Of this thing
05:28 Makes us want to
05:29 Hit each other
05:29 With the door to spring
05:33 No effort
05:34 It's brilliant, Mr. Gaston
05:36 But finally
05:37 In fact, everything this film represents
05:39 How it's made
05:40 How it's timed
05:41 How are the colors
05:42 All that bothers us to a point
05:44 Every microsecond
05:45 Of these images drives us crazy
05:47 But gaily
05:47 I mean, we do that
05:48 It's a game
05:49 After that, I didn't see the film
05:49 Maybe it's a masterpiece
05:51 No, I put it
05:51 Because I saw myself
05:53 Putting only films I liked
05:55 And I said to myself
05:55 Shit, where are we going
05:56 If I only talk about the things I like
05:57 When I like a film
05:58 It's outside of the analysis
06:00 I'm talking about Swallow
06:01 It's completely a thing of impression
06:02 It's a thing of feeling
06:04 If I start to go into the analysis
06:05 Maybe I'll start to find the film boring
06:07 I'll say to myself
06:08 Oh yeah, it's fast-touch
06:09 And I'll decrypt it
06:10 And it won't be enough
06:12 But on the other hand
06:13 It's a way of consuming cinema
06:14 It's to see something once
06:15 And something happens
06:16 Magic
06:17 Sensations
06:18 And it's enough for me
06:19 That's it
06:20 Yeah, that's more the...
06:22 For those who don't know
06:22 It's the click of the...
06:25 The Aces
06:25 So the Zucker brothers
06:26 And Jim Abrams
06:27 Who did "Is there a pilot in the plane?"
06:29 And all that
06:29 That's their first film
06:30 So made by John Landis
06:31 But they wrote everything
06:32 And I think they were kids
06:33 They were 20 when they did that
06:34 It was a bit of a theater sketch
06:36 That they adapted into cinema
06:38 Poisonous fish
06:40 Poisonous fish
06:41 Poisonous fish
06:42 Continue, it is your show
06:44 No, you're my guest
06:45 Well, that's it
06:45 It's a kind of thing
06:47 It's like the Monty Python
06:48 It's completely...
06:49 Blocked all the time
06:50 There are lots of ideas
06:52 There are things that don't work
06:53 Things that work
06:53 But at least there's a naive side
06:56 In fact, which I like a lot
06:57 I like this side
06:58 It doesn't matter, cinema
06:59 When it shifts to something
07:01 Where cinema is important
07:03 In fact, it blows me away
07:03 So there are a lot of things that blow me away
07:05 So, question
07:06 Which is not an attack at all
07:07 But don't you think that reality
07:09 There's that too?
07:10 Yeah, no
07:10 Well, in fact, it became that
07:12 Because...
07:12 Because it became that
07:13 Because in fact, people received it like that
07:15 And you, you didn't build it like that
07:17 But in fact, if you decrypt
07:18 Once again, if you go into the details of this film
07:20 In fact, it's completely stupid
07:21 It's a stupid film
07:23 Except that I put a music
07:24 Which seems to be smart
07:25 What are you doing?
07:27 I have to put a suppository
07:28 And then I made the editing
07:30 So that it takes you a little like that
07:31 In a kind of flow
07:34 Which seems to be a kind of whirlwind
07:36 Pseudo-Mantalo, I don't know what
07:38 But in fact, it's a film that's stupid like the moon
07:40 It's called Zog?
07:42 Yes
07:43 Just Zog, without a name
07:45 I made the film so that it looks
07:47 Passionate
07:48 While it's completely stupid
07:49 It's a guy who's looking for a cry
07:51 And who doesn't find his cry
07:52 Well
07:53 There's not much, that's it
07:54 Well, you see, in the same way
07:55 I find that Smoked made cough
07:56 Tells a lot of things too
07:58 The subtext is great
07:59 In fact, because anyway
08:01 We, our job
08:02 Without wanting it
08:03 It's to talk about our time
08:04 Finally, about society, etc.
08:05 But here
08:06 So me, it's stronger than me
08:07 All the themes are there
08:08 But
08:09 In the service of something where it doesn't matter
08:11 That is to say that there is no moment in Smoked made cough
08:12 Where I want to say
08:14 "Be careful, it's still serious"
08:15 "And then I'm doing cinema, look at me well"
08:17 No, it's light
08:19 And the goal
08:20 It's to laugh, actually
08:21 It's to
08:22 Precisely, it's to forget that
08:24 We're in hell
08:25 Rather than stabbing the nail
08:26 And to
08:26 Here, I see it like that
08:28 It's called "State of Force"
08:28 Morality, you have to know
08:29 We're all
08:30 Against cigarettes
08:31 Smoking is bad
08:32 There was another Zaz
08:33 Which is a masterpiece
08:35 It's exhausting movies
08:36 Because there's a gag per shot
08:37 It's still cinema inventions
08:38 That is to say that
08:39 Once again, it's light
08:41 It doesn't matter
08:42 And it's guys who have fun with gags
08:45 Which are sometimes very low-end
08:46 Like there's a big phone
08:47 And the guy just hung up
08:48 And in fact the phone is giant
08:49 This kind of bullshit
08:50 "If you do it, I'll kill you, I'll kill you"
08:55 It seems low-end today
08:56 But it's still hyper-inventive
08:57 The scene of fighting under water
08:58 Well, it's a masterpiece
08:59 Well, you had to do it, this thing
09:00 It's still not nothing
09:02 There are lots of little moments like that
09:04 And for me, there's the best gag
09:05 Of the history of these movies
09:06 It's
09:08 Val Kilmer who is about to leave by train
09:10 But it's the station that leaves
09:11 *train sounds*
09:14 I think it's the best gag of this kind of movies
09:16 Ah, you put "Napoleon Dynamite" on purpose?
09:19 No
09:19 Fabulous
09:20 *music*
09:23 No, it's brilliant
09:24 How to say it? It's funny
09:26 It's
09:26 I don't know, actually
09:27 You see, it's very complicated for me
09:28 To talk about things I like
09:29 No, because I like it
09:30 I watch it, I feel good
09:32 It's like a medicine
09:33 For me, that's the synopsis
09:36 That's just the
09:37 For me, it's Dario's masterpiece
09:38 Because it's a real fantastic movie
09:40 It's not just a fantasy
09:42 There's a real trip of fantastic movies
09:44 "L'Ouverture"
09:45 It's something that's traumatizing
09:47 I'm shivering when I watch it again
09:48 *screaming*
09:52 And there's a kind of thing that's completely
09:54 There haven't been two movies like that
09:55 With this atrocious music
09:56 Of hard rock all along
09:57 There's something that's very weird, actually
09:58 It's a mix
10:00 Of poetry
10:01 Of completely atrocious things
10:02 With monsters
10:03 With swimming pools of ostrich
10:04 And there's something that's really crazy
10:06 It's a kind of movie that's very rich
10:09 That, in my opinion, is its peak
10:11 There was another thing that you wanted to...
10:12 Yeah
10:13 No, but you see that
10:15 You know what it is, or not?
10:16 I understand why you want to talk about it
10:21 In relation to "Fumée fait tousser"
10:22 That, for me
10:23 We were talking about old images
10:25 Well, that
10:25 This old technical cinema scope
10:29 Mainly in studio
10:30 All the monster scenes in studio
10:31 It's...
10:32 Honestly, it's...
10:32 No, but it's very, very beautiful
10:33 It's something that's...
10:35 There you go, after that, it's a pain in the ass
10:36 But
10:37 It's a pleasure to watch
10:38 In my opinion, it's in studio
10:39 Because we see that it's painted backgrounds
10:41 With vegetation and all that
10:43 But it's super well done
10:44 And there's the luxurious side of the cinema scope
10:46 That makes this thing to shit
10:48 Solid, actually
10:49 And, suddenly, for me, it's super valuable
10:51 When it was...
10:52 Crash
10:53 Less well filmed with less...
10:54 With less means
10:56 These are movies that are a bit embarrassing
10:57 But there, there's a little bonus
10:59 Falsely luxurious with the technical and everything
11:02 That gives the extent to...
11:04 To a shitty thing
11:05 But it speaks to me, actually
11:06 I discovered the Coen brothers with this movie
11:08 I ain't a big man
11:10 That's right
11:11 And now, you're at my mercy
11:14 Huge fascination for the staging
11:18 Of these guys
11:19 In this movie
11:20 There's a kind of...
11:21 Virtuosity
11:22 But at the service of a light thing
11:23 Once again, it's not grandiloquent or whatever
11:25 It's just...
11:26 It's almost only...
11:27 Visual gag staging
11:29 You see, we accentuate
11:31 Some kind of ridiculous moments
11:32 With a staging that's...
11:33 That's really elaborate and funny
11:35 There's a 10-minute intro that tells you
11:37 How they managed to kidnap the kids
11:38 It's majestic, it's something...
11:39 It's crazy, it's funny
11:41 There's a comic side
11:42 But without it being grotesque
11:43 There you go
11:44 There are two things on this screen
11:52 If you look a little lower
11:53 There's "Midst of Feebles"
11:54 In "Smoke makes everything"
11:55 I make a real quote
11:57 Well, that's a trauma
11:58 I come from the nice little puppet
12:01 Who's all cute and listens to techno
12:03 [Music]
12:07 And then I discover this thing
12:08 Where the puppets actually...
12:09 Spit, shit, yell, etc.
12:13 And I thought, "Fuck, it's crazy
12:14 That the puppets are that too"
12:16 I didn't even know it could exist
12:17 So much leather
12:18 Because it's a very ugly movie
12:19 There are characters in rubber
12:21 Who are actually humans
12:22 Dressed in rubber
12:23 It's monstrous
12:24 It's really grass
12:26 But it's great
12:27 It's full of ideas
12:28 It's Peter Jackson
12:29 So for those who don't know
12:30 But it comes from that
12:31 It comes from the little theater
12:32 Of horrors
12:33 With flies eating shit
12:35 [Music]
12:37 Carrots, it must be one of yours
12:39 It's delicious
12:40 And indeed, there's the rat character
12:41 I asked Olivier
12:42 So my friend from SFX
12:45 Olivier Afonso
12:46 I'm going to ask
12:46 "Go ahead, make me the rat of the Feebles"
12:48 And we don't talk about it anymore
12:50 Because we were wondering
12:50 How are they, rats, etc.
12:51 I said, "Go ahead, I want the rat of the Feebles"
12:53 We might get attacked
12:54 But it's a direct reference
12:55 So to see the birth of Chef Didier
12:58 You have to watch "Midst of Feebles"
12:59 That you do "Marionette" by Chabat Direct, right?
13:01 Yeah, so that's hilarious
13:02 Yeah, of course
13:02 Because people say
13:03 "Yes, it's Alain Chabat who doubles the rat"
13:05 But no, he doesn't double it
13:07 He did it live
13:08 "Here, I found the only valid trailer to watch"
13:12 Like in the old days
13:13 I mean, the guys from Sesame Street
13:14 In fact, they are hidden under a pupil
13:16 And then they talk about the puppet
13:17 And they do the voice at the same time
13:18 Well, we tried it like that
13:19 Alain had never manipulated a puppet
13:22 And he did very well
13:23 Because we did something a little shitty
13:24 And there you go, he did the voice at the same time
13:26 It's still pretty cool
13:26 So I had rushes ready to go
13:28 I can't sell that to my friends
13:30 I'm trying to sell it to them
13:31 The Feebles?
13:31 Yeah, I can't sell it to them
13:33 I don't know how to sell it
13:34 It's actually unbearable
13:35 You can't sell it
13:35 All my life, I've tried to show it to people
13:37 And I've always been told
13:38 "You're crazy, it's unbearable"
13:40 It's true that it's unbearable
13:41 Because it's a lot of leather
13:45 Concentrated in an hour and a half
13:47 But there's something
13:48 It's this little...
13:50 This little fragrance of amateurism
13:54 But again, you pay me
13:55 I don't watch it again
13:56 There you go
13:57 I ate it, I saw it 45 times
13:59 I know what's in it
14:01 But I don't watch it again
14:02 But I love it
14:03 I love it, I respect it a lot
14:05 It's really banal
14:07 John Landis is a safe bet
14:09 I'm not a huge Blues Brother fan
14:11 But overall, there's something
14:14 He's a pretty good guy
14:16 From this band, Spielberg and all
14:17 I think it could have been the best
14:19 I don't know what happened
14:20 Because he has something that the others don't
14:22 It's humor
14:23 Spielberg is huge
14:24 But the humor isn't ultimate
14:26 It's a bit of a plain humor
14:28 This guy makes a movie about werewolves
14:30 But it's hilarious
14:31 And at the same time, you freak out
14:32 There's a little taste of humor
14:37 That you don't have in the other fantastic movies
14:40 It's not a potash
14:41 There are a lot of horror movies that are potash
14:43 That bring you a detachment
14:45 You know, with the B-series, etc.
14:46 That's not it
14:47 That's a serious movie
14:48 It's really well done
14:49 When the guy transforms
14:50 Well, it's terrifying
14:51 Because it's real effects
14:52 So for those who don't know
14:54 It's the guy who made the video for Michael Jackson's Thriller
14:56 What interests me in this
14:59 Is that you freak out
15:01 When he starts to be lost at night
15:03 And you know there's the werewolf
15:05 And they're making fun of each other
15:06 You laugh with them, but you're scared
15:08 I find it strong
15:09 It's a pretty surprising area
15:11 And then there's a dark humor side
15:12 With death
15:13 Because his friend dies
15:15 A guy who loses his friend
15:16 It's moving
15:17 And his friend comes back
15:18 Charcoaled by the werewolf
15:20 But he's kidding
15:21 It's pretty surprising
15:23 Honestly, it's a little masterpiece
15:25 After that, it's very badly presented
15:26 Beware of the moon
15:27 Nothing goes
15:28 And on the other hand, what's interesting
15:29 Is that you know how to make people laugh
15:30 But is it something you'd like to be able to do?
15:32 Honestly, I think I'm incapable
15:33 I haven't really tried
15:34 But I see myself
15:35 When I start writing Robert
15:38 I want to make the teeth of the sea
15:39 With a tire, basically
15:40 I tell myself there's something
15:45 There's a subject
15:46 I can make a real horror movie
15:48 And then I write 15 pages
15:49 And it bothers me
15:50 It's not enough for me
15:51 And anyway, I think it would be a failure
15:52 I think I would go completely
15:54 Next to this subject
15:55 No, it's a real thing
15:56 It's like I've always said
15:58 Massacre at the Tonsonneuse is a summit
16:00 But I don't want to spend
16:04 A month and a half
16:05 Filming guys screaming
16:06 And guys hitting each other with hammers
16:08 It doesn't interest me at all
16:09 I want to film light stuff
16:10 Speaking of lightness
16:12 Flashdance
16:13 It's a joke too
16:16 Okay, okay
16:17 That way you looked for Flashdance
16:19 Oh, it was just to get it out?
16:20 No, I have nothing to say about Flashdance
16:23 Well, there was another movie
16:24 That hasn't stopped since it fell earlier
16:25 So I have it in my hand now
16:27 "The Last of Us"
16:29 I had a lot of that in mind when I was making Rubber
16:32 What's crazy about this movie is that it's an editing movie
16:34 So it was a small film at the beginning
16:36 And Spielberg made some kind of...
16:38 He made images of trucks driving, of cars driving
16:41 Of guys looking in their mirrors
16:42 Of trucks doubling
16:44 And it's a movie that was built on editing
16:46 Anxiety and stress are editing effects
16:49 And it's brilliant for that
16:50 I mean, with so little means
16:52 A disgusting truck
16:53 A mediocre actor with a mustache
16:56 A road
16:57 A good filmmaker
16:58 Creates tension for you
17:00 And an ultimate thing that is fascinating to watch
17:02 Just by editing
17:03 That speaks to me a lot
17:03 So that's something I had in mind for Rubber
17:06 Obviously nothing to do with it
17:07 I did something...
17:08 Well, it has nothing to do with it
17:08 I made a gag with a tire
17:10 And I did something meta
17:11 But I was thinking a lot about the power of nothing
17:15 I mean, how do you make strong images
17:17 And catchy editing effects with nothing
17:20 I really like this movie, really
17:22 I'm not saying that you have a huge budget now
17:25 But does this thing of making things
17:26 That you had on Rubber
17:27 Do you miss it a bit or not?
17:28 Actually, it's not far
17:29 What we're doing today
17:29 - Is it true? - No, but yes
17:30 It's better
17:31 Because the teams are bigger
17:33 So I can...
17:34 I can ask for more stuff
17:35 But there's always a moment
17:37 When we're doing something
17:38 There's always a moment
17:39 When it's actually DIY
17:40 There are SFX interventions
17:43 My friend Olivier who makes monsters, etc.
17:46 All of that actually costs money
17:47 And it's great
17:48 But in the end, when we shoot
17:49 There's always
17:50 At least twice a day
17:52 A super DIY thing
17:53 Because in my opinion, that's cinema
17:54 I don't see how
17:55 Even the guys who make Marvel on green screen
17:57 It's DIY
17:58 There's a shitty cube
17:59 And the girl is hanging on it with tape
18:01 I mean, I don't know
18:01 And it's funny
18:02 That's what's funny, I think
18:04 If we only had perfect effects
18:05 That worked all the time
18:06 And we made camera movements
18:08 By computer
18:09 It would be something else
18:10 It's not really the same
18:11 It's not cinema anymore
18:12 Oh yes, you wanted to talk about JP
18:14 It's really cool to see him at my place
18:15 I DON'T KNOW
18:16 What a pleasure, this guy
18:17 Actually, JP
18:18 His genius is that when he plays
18:20 So, first, he doesn't play
18:21 He's like a 8 and a half year old guy
18:23 Who you say "Come on, now
18:25 We're cowboys and we do this"
18:27 Well, he goes there
18:29 But really, very simply
18:30 First degree
18:31 He gives up like a kid
18:33 And it's delicious
18:33 Because it's like a child who plays very well
18:36 It's not to diminish it, I say that
18:37 No, of course
18:38 On the contrary, it's a huge quality
18:39 It's that he doesn't care
18:41 There's not a moment where he puts an effect
18:43 Like "You'll see, I'm going to make you laugh"
18:44 You feel like it's pretty free
18:46 So it's sublime
18:47 To film, it's great
18:48 And well, he makes it
18:50 He has something that's quite fascinating
18:52 Physically
18:52 He has a way of using his body
18:56 That's quite new
18:58 So that, simply put
18:59 Well, we're not going to make fun of JP
19:01 Because he already has the melon
19:03 He talks about his Caesar all day
19:04 He can't stop talking about it
19:05 He talks about it all day
19:06 "Whaaaat, it's okay"
19:08 I understand, he can be proud of his Caesar
19:12 I have a question
19:13 A movie you wanted us to talk about
19:14 Go ahead
19:14 That you put in the list of movies you wanted to talk about
19:16 Because 4 years ago you told me that
19:18 Pixar was already fed up with it
19:19 It's not so much the animation side
19:22 Because it's not their best drawing
19:23 That anger
19:25 He cares very deeply about things being fake
19:28 So that's how you want to play it, old man?
19:30 What kills me in there is the ease with which
19:34 They make you go through super complicated ideas
19:36 In four seconds
19:37 They make you accept concepts
19:39 Since we go into the brain of the kid
19:40 But at the same time in the brain of the parents, etc.
19:42 And they have a way of making you accept these concepts
19:44 So smoothly
19:46 It's a kind of clip that goes through very briefly
19:49 And you understand the whole mechanism of their writing
19:51 And you understand what they wanted to explain to you
19:53 And you completely feel the kid's mood
19:56 Thanks to a process that can seem stupid
19:59 You give me the paper and I tell you
20:00 "No, it's the balls that represent memory"
20:03 "Forget it, it's going to be a disaster"
20:05 "It's super boring, people won't understand anything"
20:07 There's a mechanic in there that bluffs me
20:10 I look at how the guy works
20:12 Nice, yeah
20:15 Is it your shop now?
20:16 It's a bit like my shop, yeah
20:17 Your second video club, you're home
20:18 Yeah
20:19 Bye
20:20 It would be a great way for Chlor to finish this shitty format
20:23 In which nobody, everyone can't do it anymore
20:24 No, we have to bring in other people
20:37 Cooks or footballers, I don't know
20:39 Subscribe to Chlor's channel!