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00:00I'm Brun, I'm 1.86m, I'm 45.5cm tall and I play basketball.
00:26I'm here as a theatre actor, I'm accompanied by prestigious actors.
00:32The play starts with one act and ends with a delicate one. What did you find?
00:41My name is Dominic Canet and I've been making records under the name Dominica for over 30 years now.
00:48I do this because I can't do anything else.
00:50When I was a child, I was immediately taken by the vice of writing.
00:57I let myself get caught up in this flow until we follow it. I think I'll do that until the end of my life.
01:08This week in the Paris des Arts, an artist with a big A.
01:11He's one of the pioneers of the new French song, he's crazy about literature, he loves prose, verses and rhymes.
01:17We'll meet Dominica at the Maison de la Poésie.
01:20Then we'll go to the Théâtre des Nouveautés with the comedian Max Boublil.
01:25And you'll stay with us because at the end of the show, there's the Paris des Arts' heart attack.
01:33Hello.
01:34Hello Valérie.
01:35How are you?
01:37You know the place well.
01:38Absolutely.
01:39How often do you come here?
01:40About ten times.
01:41For what?
01:42To ask for poetry, to ask for literature, to sing.
01:47To sing.
01:48It's a beautiful place.
01:49It's great.
01:50Let's go.
01:51One of the most beautiful rooms in Paris.
01:52Really.
01:53Let's go.
01:58This place, in the heart of Paris, has gone through the ages.
02:01During the revolution in 1791, these walls first sheltered the Théâtre Molière, which changed its name half a dozen times.
02:09Jacques Chirac, then mayor of Paris, decided to rehabilitate the place by dedicating it to the 5th art.
02:17La Maison de la Poésie will be 30 years old next year.
02:27We're in this temple of poetry.
02:29What is the role, perhaps the power of poets in this tormented, violent world?
02:36Making us forget?
02:37Yes.
02:38It's a bit like going beyond the present.
02:45Going beyond the present and the way we relate to it.
03:09There is time to win sometimes, when time forgets you.
03:17When time forgets you.
03:21When time forgets you.
03:25Bravo!
03:27Time doesn't forget you.
03:29Let's hope so.
03:30You're already 30.
03:32And La Faucette...
03:33A little over 30.
03:35...is still here.
03:36Yes, yes.
03:37Your 30 years have passed since the release of this first album,
03:41which you recorded on a tape recorder.
03:43Since then, you've recorded 15 records, sung in many, many venues,
03:48you've written songs for yourself, for others.
03:51What are your thoughts on this journey, on this beautiful journey?
03:57It's my life.
03:58It's my life.
03:59I have two lives.
04:01I've had two lives.
04:02I've had the one before, until I was 20, let's say 22.
04:06I've had two lives.
04:07And from the moment I started to...
04:12Because there are people who listen to me.
04:14In this job, it seems to be the hardest thing.
04:18I wasn't aware of it.
04:19And I really didn't have all the cards in my hand.
04:22And then it happened.
04:23It happened because people were there.
04:25Why didn't you have all the cards in your hand?
04:27Because I was lazy.
04:29Because I didn't believe in myself.
04:31Because it all exceeded me.
04:34To celebrate this anniversary, you chose to release a double album,
04:38in which we find some of your most beautiful songs.
04:40On one side, there is a symphonic album,
04:42on the other, an acoustic album, two depth of singing.
04:45Why this diptych?
04:46When the Chamber Orchestra of Geneva and the Comédie de Genève
04:49proposed to me to do symphonic concerts,
04:52right away, there was the idea, the desire to record these concerts,
04:55to make a record.
04:56And at the same time, there was this idea that always dragged on,
04:59the intimate form.
05:01And I thought it was a pretty nice way to join two facets
05:06around the same repertoire,
05:08and to work on the songs completely differently.
05:11Unless, in one case like in another,
05:13it's in an acoustic setting.
05:15It's people playing together, live.
05:18And it's about privileging the musical game
05:21in an intimate way, and in a form, let's say...
05:24Grandiose.
05:25Pleitoric.
05:32Maybe another year, goodbye my love
05:37Life is not over, life is not over
05:42These are two different listening experiences.
05:45Yes, I think so.
05:46Two different emotions.
05:47Ah yes, in any case, as an interpreter, yes, it's completely different.
05:50Because with the orchestra, I am the instrument of my songs.
05:55And when I play with my two comrades,
05:59we are more in a relationship of looking for a fusion,
06:04and on a musical game that is more of a game of looks too.
06:09After that, the junction point is the interpretation.
06:12That is, in one case like in another, I have to be there,
06:16carried by the songs, and that I carry the songs.
06:19Of the avalanches
06:22Of the fire judged on the branches
06:26Of the long way out
06:33Everything will be as before
06:37Where we find in particular the courage of the birds,
06:39goodbye my love, or still immortal,
06:41a song you wrote for Bashung.
06:43Was it hard to choose the titles for this double album?
06:46The ones you just mentioned, no, because they were a bit forced.
06:49We would have been disappointed otherwise.
06:52No, and it was out of the question for me to rule them out.
06:55But after, no, I enjoyed it.
06:57I didn't think too much about the others.
06:59Ah, okay, okay.
07:01Give us back the light, give us back the beauty
07:04The world was so beautiful, and we ruined it
07:10Give us back the light, give us back the beauty
07:15From your first album, La Faucette,
07:17you were appointed as the lead singer of the new French song,
07:21like La Nouvelle Vague au cinéma, or the new novel in literature.
07:25Is that a responsibility?
07:27Well, at the time, it was nothing at all.
07:29In terms of responsibility, I felt no responsibility.
07:32I was amazed, in fact.
07:34I arrived at a moment of emptiness.
07:36In these cases, you are quite easily intronized,
07:39lead singer Bidule, because...
07:41You don't put the boxes, not so much.
07:43I don't care, in fact.
07:45I consider that an artist carries clichés,
07:49but that he is responsible for them to a certain extent.
07:52So, if you say that I am melancholic,
07:55if you say that I am this and that,
07:57well, yes, it must be true.
07:59But you are melancholic, aren't you?
08:01My songs are.
08:03But you are not?
08:04I don't think so.
08:05Oh yeah? Are you super happy?
08:07Neither.
08:09I wouldn't wear a flower shirt.
08:15It's better to entrust these flowers
08:20to someone more sunny than me.
08:24But if the rain is quick,
08:26may these flowers not die.
08:28We now go to the boards of the Théâtre des Nouveautés
08:30to find the tireless Max Boublil,
08:33actor, singer and humorist.
08:35He is again on the cover of La Comédie à Succès,
08:38in a delicate situation,
08:40and continues the tour of his one-man show.
08:42Two complementary exercises,
08:44of which he will give us some secrets.
08:47It's not bad on the poster.
08:49It's an old photo.
08:50It's something we did at the beginning.
08:52A delicate situation, really delicate or not?
08:55Yeah, delicate, funny.
08:57A funny situation.
08:58In any case, it's funny.
08:59Hey, the doors are opening.
09:01Hello.
09:02Hello.
09:03Have we met before?
09:05I don't think so.
09:06The whole team of this beautiful room.
09:08Here we are.
09:09Here we are.
09:10They have no more secrets for you?
09:11Oh no, we spent a lot of time together.
09:13Years and years together.
09:15We did a tour, we did Les Nouveautés two years ago,
09:18we did Edouard Seth.
09:20We spent our lives together.
09:21And today there is a new actress with us,
09:23it's Elsa Rosenknopp.
09:25And she did very well in the shoes of Julie's role.
09:29So you, what character do you play?
09:31I play Nicolas,
09:34who is a madly in love with Julie
09:36and who wants to make his marriage request.
09:39He thinks of finding Julie's parents to make the request,
09:42but in fact he comes across Julie's lover and his wife.
09:45So Gérard Darmont and Clotilde Courreau.
09:47And so I think I'm talking to his parents.
09:50I don't know at all.
09:51So the whole room is full of misunderstandings,
09:53misunderstandings like that.
09:54And the audience has a shot ahead
09:56because they know that I'm a bit of a dick
09:58of a dick dinner in this room.
09:59My wife told me you wanted to talk to me.
10:01Yes, she didn't tell you anything.
10:03About what?
10:04About us.
10:06About you and me.
10:08It's your first play.
10:09You had us rather used to one-man shows.
10:12Yes.
10:13It's very different to tell a story to several people,
10:17not to address directly to the audience.
10:19Did you work or was it natural?
10:21No, no, no, no.
10:22We worked a lot at first.
10:23There were a lot of rehearsals.
10:24It was intense.
10:25It was difficult for me at first
10:26because it's a new discipline,
10:29to be with others,
10:30to act as if we were at the cinema,
10:33but a little louder.
10:34Because in theatre,
10:35it has to be played a little louder
10:37in terms of volume, sound and sometimes intentions.
10:40And I admit that I take a lot of pleasure in it.
10:43Well, as soon as the start of 2025,
10:45you continue with the tour of your only stage name,
10:48Maximilien.
10:49It's a show in which you deliver yourself.
10:51You introduce us to your life,
10:53to the meeting of any characters,
10:54your wife, your children, your mother.
10:57Was it important for you to tell your story?
10:59Yes, I wanted this show
11:01to be more than just a one-man show.
11:03I really wanted to tell what my life was like.
11:05And I'm talking about real anecdotes.
11:07At one point, I have a whole sketch about the 90s.
11:09I wanted it to be much more sincere than the previous ones.
11:12I've been in the show for 18 years.
11:1418 years!
11:15Normally, 18 years.
11:16I looked at it and it's worth it
11:17for a double murder with premeditation.
11:19Well, here we are at the Théâtre des Nouveautés.
11:21I'm curious.
11:22I want you to show us the backstage.
11:24It's your place.
11:25With pleasure.
11:26I can show you everything you want.
11:27Come on.
11:28I can show you the toilets, the showers.
11:30I can show you the lounges.
11:31I can show you the lounges of my colleagues.
11:33Come on.
11:34Come on, let's go.
11:37And here you enter the magic of the lounges.
11:41So here you have Gérard Darmon's lounge,
11:43which has a lounge with a bathtub and a pool.
11:46And here you have the real artist's lounge,
11:49the guy who has a lounge smaller than a prison cell.
11:53You see?
11:54There's nothing.
11:55There's still a couch, like half a seat.
11:58Look, look, I can't even lie down on this fucking couch.
12:01Look, I can put myself like this.
12:03At best, I'm like this.
12:04Like this.
12:05Oh, what a pleasure.
12:06Do you understand why I don't arrive two hours early?
12:08And who is the piano for?
12:09The piano is for me.
12:10I always ask for a piano,
12:11because otherwise I don't feel good.
12:13Okay.
12:14So I play a little piano in the evening,
12:16when I get there at 8.45 p.m.
12:18The production is nice with you.
12:20They have to.
12:21There you go.
12:22Well, it's not going to be the biggest sequence of the moment.
12:24And don't mess up those sequences.
12:26They don't work anymore.
12:31Max, you stay here,
12:33because I think the spectators will soon arrive.
12:35Exactly.
12:36And the spectators,
12:37you stay with us on France 24
12:39for the heart attack of the Paris des Arts.
12:41There you go.
12:45We'll keep it, it's good.
12:55TANGÉ
12:58From Christopher Nolan,
12:59through Nabil Ayyouch,
13:01or Jim Jarmusch,
13:02or André Téchiné,
13:04Hollywood productions,
13:05to author films,
13:06Tangé has always inspired
13:08filmmakers from all over the world.
13:09I suggest you go and discover
13:11the next shooting.
13:13It's happening right behind me.
13:15Hello.
13:16Hello.
13:17Thank you for welcoming us.
13:19You are both here for the shooting
13:21of this film, Behind the Palm Trees,
13:23what is the story?
13:26The story is about a boy
13:28named Mehdi,
13:30who lives in Tangé, Morocco,
13:32and who is in a relationship
13:34with a young girl named Selma.
13:36He is madly in love with her.
13:38And everything goes very well
13:40in their relationship,
13:42until they meet Marie.
13:44And so, through her gaze,
13:46we're going to immerse ourselves
13:48in the world
13:50of expatriates
13:52and foreign tourists
13:54in Morocco,
13:55and especially in the city of Tangé.
13:57What made you want to make this film?
13:59I really like the form of the thriller.
14:01So, apart from the fact that
14:03I really liked the story,
14:05the pitch and how she built it,
14:07in her first film, Sofia,
14:09which I also really liked,
14:11there was always this story
14:13of the main character that we follow,
14:15and it becomes an anti-hero.
14:17We love him, we are with him
14:19in his storm.
14:22Action!
14:32Marie-Ève, what you tell us
14:34between the lines,
14:36beyond the little story,
14:38is the big story,
14:40the one that takes place
14:42between France and Morocco,
14:44your two countries.
14:46What do you say in the film?
14:48Actually, what I wanted to ask
14:50is the political aspect,
14:52and how the big story,
14:54as you say very well,
14:56comes unconsciously
14:58in the most intimate relationships,
15:00and in this case,
15:02the love relationships.
15:04Obviously, for me,
15:06it's also at the time of colonization
15:08that everything is at stake,
15:10and what is left of it today.
15:12For the character of Mehdi,
15:14he is fascinated by this world,
15:16he feels that this world is very free,
15:18and I thank you.
15:20You really made me want to see this film.
15:22We will meet again very soon
15:24for another heart attack
15:26from Paris des Arts.