THEMA ON ARTE CHANNEL: Jules Vernes, in another galaxy ...
Do not ask me why we especially asked me casseroles to 6 that day. Jules Verne was about origami? Surely not, but the makers have certainly found a reason to justify it. The models were in a kind of "pawns" to handle a browser on a map of Africa I think, to view travel. ATTENTION, HEADED POWER: I can not remember what the 6 womanizing, but one of them was a grasshopper. The camera would zoom very hard on a page of a book by Jules Verne, on the word "grasshopper". Then it declined to show the entire page and my hands. I fold a sheet, grasshopper-shaped, non-stop. The word "grasshopper" had to appear in the final model, so that the camera can re-zoom above. Of course, making this game works the same way with the 6 womanizing had asked me a lot of preparation. Anything bazaar was it necessary for unfortunate pawns? It's not serious, television is rich ... ... and me, I needed money.
I was rolling on the floor throughout the filming, the studio was huge, we could have run the vast Vadrouille. In the middle of this immensity, production had prepared a small table, 2 chairs and a camera. Sound and lights were controlled from a booth on the mezzanine, so that our tiny trio, only part illuminated in this very dark warehouse, was very surreal. After the presentations use, it settles:I sat at the table for folding, the cameraman is hiding behind his tool, and the "reality" face up to me, his arms on the table. Our 2 faces are less than 50 cm of one another. Finally, is this mountain of flesh had a real face, I am not sure ... I've never really seen done. The skull was razed in the last Venusian mode, and I never saw his eyes all afternoon, they were hidden by thick dark glasses and round. 8) Can they be hiding horrendous 4 tentacles? But apart from my desire to leave, the first 5 "pawns" run smoothly ...
In the 6th, the specimen does not liked the "director". If I recall correctly, the explorer must arrive in the salt mines. It stops everything, and it gives me royally ½ hour to invent a "salt crystals. Because nobody has ever seen under a microscope (!), It deals to some sort of obelisk (!). I m'active, including to ensure that the camera can zoom in on the word "salt", and ... Engine! ... We began to turn to another ... "Cut" of the "director" dubious, the Venusian is not fully satisfied: he finds that the obelisk ... ... resembles too much to an obelisk! After intense reflection that only a "director" from Arte is capable, he whispers in a hoarse soufle (still 50 cm of me and its tentacles hidden by his glasses): "we need a needle to punch holes at the top" (translated into ground: and more suggest salt). The play is "surréalise" increasingly our trio dimly lit studio in this immense black ... Where the hell beast find a needle in? Where is the haystack? To not use the voice of Venusian "realistic", the cameraman relays information: "We need a needle! "All of a sudden, the hangar that I think is totally empty in turmoil: 3 or 4 youngs (or was it naughty gnomes?) start running in all directions. A ¼ hour happens in a heavy silence. During those 900 seconds, the Venusian not moved a tentacle ... We were expecting something happens! (or can be Godot, who knows ...). An assistant returned any of breath, proudly showing off a needle, we made some holes in the obelisk-salt, and ... Engine! ... We began to turn ...
service was denied by the chain and not pass never : to the folding, we
destructed a book by Jules Verne, a copy editing Hetzel (you know, fine
books red and gold) , and officials had judged it unacceptable.
So here I am in the studio for an interview from 5 to 10 minutes. Once arrived, I fight with the "realistic" to try to prepare all the questions (and thus ensure that they have any interest). Nothing fit, and I owed myself that nothing is prepared: the sheave wanted the "freshness" of "improvisation" ... To make it more comical, the journalist was not the usual one, but a player that origami does not at all. And as Arte is important is not to like the others, instead of being "foolishly" sitting face to face (what vulgarity!), We had done everything to put me at ease: I was sitting facing the camera, at a table on which were arranged my womanizing most striking, and the actor was not in the hundred and ironing passing behind me! A typical surrealism of the chain, and ultimately of course, an interview out of the ordinary, but without the slightest interest ...
the tape a little later completed to link relations with unwavering TV:
I wanted to see if at least my womanizing had been developed ... NOT AT
ALL! Many lighting equipment in the studio, and certainly well-paid
staff. These "Men of Art" had achieved a performance: the lighting was
very sophisticated, very colorful, powerful. Too well. With all their
equipment, they had succeeded in creating more shadows than light, so
vaguely guessed that the shell of a turtle or ears of a rat, I would
say to "shadow" on the twenty models arranged on the table. Ah TV, I