He is insane. In Georges, the psychopath of Quentin Dupieux's film, Jean Dujardin rips the screen. The marriage of carp and rabbit, outsider cinema and mainstream comic, gave birth to a fable, the deer, with a heavyweight role for the Oscar winner (in 2012, for The Artist): all his body flourishes prodigiously, with the carelessness of a man of almost 47 years old who has benefited from life. Shaggy hair, white-dotted beard, thick waist, a beaded shirt under an unlikely fringed jacket make maboul fantastically incarnate and endearing. So that when the real Jean Dujardin enters the scene, fifteen days from the Cannes Film Festival, where the film inaugurates the Directors' Fortnight, we are almost sad not to meet a cowboy on the return, with hints of mothballs.
Reality. The beast Dujardin looks great, dashing, at the top. Just out of a shoot with Roman Polanski and ready to resume service for agent OSS 117. Also quiet: in Cannes, there will be no stake, "Just the pleasure of making a movie on the sidelines". Groomed with fresh, lustrous hair, brushed hairs, drawn eyebrows, slim waist, he is wary when told that he is all beautiful. No more trace of the film's George, except for a small fitted chic suede jacket. No more sign of the weather, if not perhaps this presbyopic way of moving back the phone. Here is Quentin Dupieux sending a message. "We have a little game both, we buy jackets, we send photos and we say" #styledemalade "." They found each other. On the set, they were "In bluetooth", "a mimicry" even settled between them, "There was a chemistry".
Today, Dujardin lost the "5 kilograms" he had taken while stopping smoking. No more roast potatoes, at noon it's cod. Before our eyes, sketch, he waved his fingers frantically to imitate the smoker's gesture, which he got rid of as a tacky plaster. "We feel like we'll be naked without this thing. The cigarette made me completely paranoid, more nervous and more anxious. " He quit when he became the father of a little girl with his new partner, after having two boys. "I did not want my daughter to tell me that I stink." Fear of schlinguer but afraid of the accident too: "The small sentence of a doctor," the bad news comes to 50 years, "has done its job as well."
If he played Georges, it's for his madness. The story of the guy who tells himself things alone, it spoke to him: "For a long time, I wanted to work around obsession, psychiatry. From a closed circuit character, who goes into the wall. Something has touched me in this slow-moving suicide, of a guy who returns to the animal side, ready to laps in the streams. "
Dupieux had dejected Dujardin to suck the marrow: he put it on pause. Because the man has an ultrafast flow. It is difficult to take notes as the words are bursting. He is astonished: "Oh? I speak fast because the comedy imposes that one speaks quickly. I am looking for a form of efficiency. Me, I feel so slow. Talking quickly, anyway, does not make it smarter, " he comments, not very tender with himself. He says, however, appeased: "I'm more confident, I'm less paranoid. I feel that I want less harm and I want less harm. " If he looks at himself in the mirrors, it's "Out of politeness, to limit the breakage, to be presentable", not by a narcissistic crack like that of George's dingo. Basically, Jean Dujardin does not care to please, he just wants to have sensations, in "(His) life of man and (his) life of actor". The last of a family of four boys where there was no spoiled child, he struggled: "It helped me in life, it hardened me and was a driving force, I had to prove myself and prove to them who I was."
If the actor has made an appointment on his territory, the western Paris is that he likes "Hide it". Loneliness does not scare him anymore. It is also for its proximity to the forest, where he likes to run and dream, frolic to relieve stress. A man of the woods? "Hey, my name is Dujardin, no?" He jogged two to three times a week, but was slow to run, more runner than sprinter. Music in his helmet, in random mode, he likes to be carried by soundtracks. And small strides, John Barry stereo, he likes "That scenery and music change, that the road goes by" under his feet. When he does not feel his legs anymore, "That it becomes mechanical, when the light is oblique" – he draws the scene with his hands – he is in "a bubble" : "I'm in a movie, it fills me up, my life is a tracking shot." The mirage of a canasson at a trot, with a chestnut robe, passes. Jean Dujardin feels privileged. He can afford the luxury of seeing him coming, his muzzle to the wind, to go where his flair leads him. By the way, what do the yellow vests, less privileged, inspire in him? There, he closes the curtain. "Oh no, I do not want to go in there. We're here for a suede jacket, not for a yellow vest! " #KC.
Clementine Mercier Photo Cyril Zannettacci. VU
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