Gros plan sur Gérard Depardieu (1974)
Sur le tournage de "Pas si méchant que ça" de Claude Goretta, puis de "1900 (Novencento)" de Bernardo Bertolucci, à Parme, le comédien français retrace avec Christian Defaye sa vie, ses tatouages, le cinéma et le théâtre. Valeur sûre du box-office, Gérard Depardieu redevient un jeune père de 25 ans lorsque son fils Guillaume apparaît.
Des extraits de la pièce "La chevauchée sur le lac de Constance" de HANDKE, Peter avec Jeanne Moreau, Michael Lonsdale et Sami Frey et du tournage du film Pas si méchant que ça" de Claude Goretta, ainsi que des interviews de Claude Sautet, Yves Montand, Michel Piccoli et Marlène Jobert complètent ce portrait diffusé dans Spécial Cinéma le 6 novembre 1974.
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Video Transcript
They have a history, these tattoos.
It's practically a living thing.
They were...
They were the epics.
I lived with her most of the time.
But not like a magician.
I lived like... I was 12 when I saw this.
It grew with my arms.
And...
I liked them a lot because they were doing this job.
They were completely unique, because they weren't whores who did their job badly.
They were girls who had decided to do this job.
They were girls who were brought up in a boarding school,
girls from the bourgeoisie of Tourangel.
And they had both rebelled.
Well, rebelled, I don't know.
In this case, they were together.
We were both friends and colleagues.
I lived with her, but there were many others.
There were many Americans and many prostitutes.
It was the environment of the base.
Yes, it was huge. You never find a mess like that again.
Do you mind these tattoos today?
Not at all.
No.
On the contrary, they bothered me because one day I was in love
with a girl, when I was also... maybe two years later.
That.
And it was a girl...
who was...
I saw that it could bother her.
So I scratched her with sandpaper.
On this one, of course.
I scratched her with sandpaper.
It's incredible when you're in love.
And then the meeting with the theatre.
So it's a coincidence, it's a friend who leads you to the Cours du Lain of the National Theatre.
That's right. It was a friend, the son of a doctor from Châteauroux.
I was at the station one day and I said, what are you doing?
And I went to the Cours du Lain. I had never seen anything like it.
He thought I had already worked with him.
Not Dulin, his name was Lucien.
He thought I had already worked with him.
And he told me, the first day I went home,
I had to go over your scene.
And I told you, it was completely crazy.
So I said yes, I let him do everything.
And I had nothing.
You know, you learn to read.
I was in school, where I read beautiful things.
