We are rarely surprised by watching TV. In the position, journalists speak like connected speakers and the equally robotic guests, respond to them by debit their argument on the air of authenticity. So, when we fall, by zapping, on “the meetings of the Papotin” (France 2), we immediately feel that we are there in front of something deeply different, a space where speech seems to have freed himself from his chains, twirling between pure poetry and disarming sincerity.
Broadcast on public service since the start of the school year and launched by filmmakers Eric Toledano and Olivier Nakache, this interview magazine takes up the principle of the Le Papotin paper newspaper (random publication), whose editorial staff has about fifty non -professional journalists suffering from autism spectrum disorders (TSA). This time in front of the cameras, these amateurs, in reality much more insightful than the “pros”, interviews a personality, with a single rule of conduct: “we can say everything at the” papotin “, but, above all, everything can happen!”
Looking at the inaugural number with Gilles Lellouche, we understand that we are not there in front of a clear promise. First question (in reality, an affirmation): “You’re old you! – Well yes, I’m old!”, Answers the actor, surprised and amused. “Why are you old?” Chain the interviewer, tough. “Well, I’m old, because I have not managed to remember time.” When we approach the aspect of the career, the questions are just as surprising: “How you have taken up the role of Martin, in CARS 2, when the first duplicator is dead? “Indeed, becoming the lining of a death that dubbed a tow truck, it cannot be envisaged lightly.
unexpected and herewrushes
Sometimes the turns of sentences are unusual, resembling haikus. “How are you going, Gilles, as you are alive? It was hard after the boxed filming …”, questions Claire, leaving the actor forced (is it still talking about his role as a tow truck?). This set of unexpected and heterogeneous questions would almost think about the Voight-Kampff test which, in the film Blade Runner (1982), makes it possible to determine if we are dealing with a human or a replicant robot. As he called himself “Gilbert Lellouche” and heard himself said that he was preferred “Jean Dujardin” without flinching, the actor was able to show a touching humanity, showing that he loved him Cassoulet, thought of his disappeared father every day and was bored in the company of too serious adults.
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