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Marc Di Domenico reveals the man Aznavour


In a film made from the private archives of Charles Aznavour, Marc Di Domenico reveals that the man behind the star disappeared just a year ago.

Art director, producer, publisher and music director Marc Di Dominico works at the center of the game. His friendship with Charles Aznavour flourished around artistic cooperation (production of an album and clip, biographical report, recording of the program) before he flourished with Charles Aznavour, around good bottles, tasty anecdotes, in the heat of Provence and love.

It is in these precious moments that it is not an idea to make films from intimate documents shot in 1948 and 1982. In 16 mm or super 8 format by the great Charles himself. These private films, illustrated with some of his most beautiful songs, enriched by the text of Romain Duris A film by Charles Aznavour directed by Marc Di Domnico.
Charles' appearance it's more than a documentary about a singer, it's huge. It is the story of a small migration life and a history document that invites us to travel around the world, in Africa, Japan, South America etc. now is gone. Marc Di Domenico gave us his memories and impressions.

These archives are as valuable as they are intimate. Why did he decide to give them to you?

We saw each other often, shared many things, knew his work very well and often talked to him about works completely unknown from his repertoire. Many know about forty songs of Karol from 800 of his repertoire. And then we talked about cinema, we were both cinnamon. We talked about great American music comedies. One day in 2015 he told me: "Listen, I've been shooting my whole life, what do you think?", From the first shoots I immediately made unconscious associations that brought today's film.

What did this room look like when its archives were kept?

The library had a dramatic door, high ceiling, plenty of shelves, a portrait of Brigitte Bardot, soundtracks, original posters. It's from Don't shoot the pianist e.g.

By entrusting you with these films, he imposed no restrictions. I mean, in particular, photos of his son Patryk, who died of an overdose?

No Maybe it was less modest for me on some issues than for his family, who obviously knew family films, but not what he did very young.

behind the door

Many photos leave the most humble people …

I think he kept it since childhood, he was marked by the fate of his father who pulled the car through Paris. Charles never forgot where he came from. He told me "I'm someone from the street, I feel the best there."

In your film a man stands in front of the artist. We are surprised that Aznavour is almost physically different!

This film has several dimensions: of course life and career, but we discover a man, a part of him that he never expressed. The lady in the interview, while sometimes journalists could have the impression of having a link, always kept a good professional distance. Everything was still matris. In the film, everything is always the first cast, suddenly there is spontaneity, part of a man.

Although he was proud of his success, he remained modest. He talked discreetly about his friendships and we fall from his chair to see who is attending the wedding with Ula, his last wife!

It's true. At the same time, as the film says, they were often people from very poor backgrounds. Before Kirk Douglas, Nina Simone, Barbra Streisand and Sinatra became the ones we know today, they experienced poverty.

We also see moving images of young Sagan …

They loved each other very much with Sagan. They had a common speed. It was a time when we had a great time driving a car, and Charles had a serious car accident in 1955.

Why did you choose Romain Duris as a voiceover?

For years, Misha, son of Karol, told me: "If one day we make a movie about daddy, we will have to take Romain, he has the same speed, the same energy." Romain Duris immediately accepted.

There is also work on those songs that we all know but are placed on stage here …

Thanks to my family, I was lucky to have access to the original masters. It's as important to me as the photos. We reorganize orchestrations, and the vinyl years are coming along with these films. To get the title that clicked on the video, "I have lived", I invite the viewer to the recording session. There is a small sentence in which he says that you have to catch the hook, because there is no more voice. And then we are with him at the stand, with a choir of musicians in the distance, and we are rebuilding the title until we hear what is happening on the radio.

Did Ulla, his wife, end the film?

She hadn't come to the studio yet while editing, she had seen some pictures. She was both shy and agitated. I want to see him alone, without anyone. These images in which they film, affect me the most. There is great purity, it is a lofty declaration of love.

Charles Aznavour did not stop filming. After 82 years it went digital. Are you making another movie with this material?

I don't know if it is useful. I saw them. But there must be an idea for the script, script, cinematographic power and … I really don't know.

Do you think he would like Charles's look?

I believe In some ways he was always on my side, I never stopped thinking about him while making this film. And then I tried to be as fair to myself as possible: it was the best way to get closer to him.

Charles & # 39; s Gaze – 1h23 – Wednesday October 2.

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