Les Grosses Têtes: DÉBRIEF - Philippe Claudel revient sur ses débuts aux Grosses Têtes

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Hello, it's Laurent Rue,

who just finished his show on RTL.

But as an exclusive for you, dear viewers,

I suggest you listen to the debrief

shot by one of the big heads of the day

on Rachelle Asria's microphone.

Let's go.

Hello, Philippe Claudel.

Hello.

This is our first debrief together.

First podcast,

it's a kind of classroom advice

to put you in the bin.

The industrial bulletin.

That's it.

It's for later.

That's it. We'll see each other again.

We'll see if you've had any progress.

Where's the congratulations?

Don't do anything.

I'm still doing it.

We'll ask Laurent about his little life.

First of all,

how did you find the show?

Listen, I always have a good time.

It's amazing.

I'm very, very happy to be here.

It's the third time I come.

I'm going to try to come once a week as much as possible.

It's warm, it's convivial, it's funny.

There's a good atmosphere.

We're going to be the audience who is happy too.

We hope that audiences and viewers

will also be happy.

Are you expecting this atmosphere?

Yes, yes, yes, still.

Because I was raised with big heads.

It's still a completely historical and cultural show.

It's part of the French radio phoning heritage.

So when I was a young man,

I was thrown into the radio

because in 1981 there was the Liberation of the Zones.

So we created all the free radios.

And of course, I was vibrated

to certain cult shows in big heads.

You already had your favorites listening to big heads.

The voices that you liked to hear and hear.

I'm happy that you're talking about voices

because it's true that the radios is amazing.

That's it.

It's voices that come to us,

that touch us.

Some of them are loud, serious.

We have something that is extremely charnel, in fact.

Preferably not, but that's what I liked.

If you want, it was this ensemble

almost symphonic of voices

and then also with characters behind

who are quite different

and then people who also like to chamber.

How did Laurent offer you to integrate the big heads?

Listen, I think it was at the beginning of this year, 2023.

I was the guest of the day for the book, on the phone.

So we were talking about my last moment

which was not the one that was written musculoskeletal.

And then Laurent asked me at the end of the interview,

would you come to join us?

And I said, yes, with great pleasure.

Except that in the meantime, I had twice the Covid.

So it took a little bit of time.

But finally, in September, I was able to join the team.

You were afraid,

or you had little fears

by telling yourself,

will I be well integrated in the team?

Are we going to welcome me too?

Are some of you going to be bad?

No fears, but what is nice is...

I was going to say, it's the game too.

Because it's radio, but it's comedy.

That is to say that some people seem to be a little aggressive,

a little bit bad, a little bit...

It's just the game.

So I was expecting a little bit of that.

So I was a little bit blinded.

I had taken some cartridges.

Do you already know people personally?

So yes, I know that the first show was with François Berlain.

I know him, I know him.

François, a little bit.

Roselyne Bachelon, we also met a few times.

It's easier to be honest.

It's easier for me to know him,

to have him on stage and to have met him again a few times.

It's easier, in any case, to find people we appreciate, that we admire.

Philippe, we're going to talk a little bit more about you,

for the audience who are listening to us.

You are writer and director.

Do you give us your most beautiful memory in the cinema?

It's maybe the magic of the first action.

When I ate, I did short films when I was a young student.

And then I put some time before doing my first long film.

It was a long time ago, so in 2008.

When it becomes possible, after two years of preparation,

of a certainty, that we are on the stage,

that we are with the team, that the comedians are there,

by the way, it's Aziz Borstein, Christine Scott-Thomas.

And we launch her first action.

There is something absolutely frightening, fascinating.

And almost, I was going to say, erotic charnels.

You see, there is something.

The shooting is exceptional.

The shooting is tiring and exhausting,

but there is a magic of the shooting

that I don't find elsewhere in other people's lives.

Do you have a message for the spectators

who have a little deserted the cinema rooms in France?

Listen, yes, it's really a big problem.

I am both a spectator and a director, as you remember.

When you see the frequency, it hurts.

It hurts because we have a unique cinema in France

that has succeeded in existing during these last decades,

while other European cinemas have collapsed.

Because we have set up a system of aid and financing

that is formidable, which is almost unique

and which allows more than 200 long-distance shots to be shot.

But this system also works,

from where the rooms are full,

or at least where people go to the cinema.

So it's true that the pandemic has made many of us

subscribe, watch more and more films on the platforms,

which is very good too.

But watching a film on a computer screen

or even on a video home,

it's not the same thing as being in the room.

In the room, we are transported.

The cinema, Jean-Luc Godard said it,

it's a common transport.

We are with other people that we don't know around us.

We laugh, we cry at the same time, we are immersed at the same time.

And there is something that is magical.

It's a little bit like the theater, the live show.

Going to the cinema, I think that seeing screens

where you have women and men who look like us,

but who are 10 times, 20 times bigger,

and who live emotions 20 times stronger,

it's something that is irreplaceable.

And if we want the cinema to be hard,

if we want it to continue, we really have to go to the living room.

Philippe, if you had to make a choice between books or films.

Ha ha ha, cruel.

Listen, it would be difficult.

I would have regretted it, of course,

but I think I would still choose books.

You are no longer free.

Of course, because there is no question of money and budget,

of production meetings, of actors, of technicians.

So the implementation of writing is simpler.

It costs nothing to anyone.

We can do it with a simple sheet of paper and a pencil, you see.

And then, what is magic in writing,

is that if we are not happy with the result, we can throw it in the trash.

So if you make a film, you have to get it out one day.

Even if you are not happy, it will not happen to me yet,

but it must be extremely painful.

You already have projects for 2024.

Are you preparing for this new year?

So next year, I have projects of theater pieces.

In January, if everything goes well, and in September.

And then, despite all that we said about the situation of cinema,

the hope is still to put on the road a long stretch.

Philippe Claudel, we will see you next week in the Grosse Tête.

With great pleasure.

And meanwhile, prepare the show well.

Read the press.

I'm trying to be a good student, you know.

I hope so.

I hope that the next class council will be good.

You tell me.

Yes, with pleasure.

Thank you Philippe.

Thank you.

Thank you for listening to the debrief of the Grosse Tête.

Be on the date tomorrow for a new show at 5.30 p.m. on RTL

or on Ripley, on the application and of course all our partner platforms.

RTL Matins, L'œil de Philippe Cavrivière.

Eric Dupont has been arrested for your crime.

Yes, so you talked about 250,000 euros of damages in the court.

At first, I was afraid.

I said to myself, shit, he was going to tear his watch.

It's not true.

He sold everything.

He has nothing left.

This man has nothing left.

This man is in the woods.

L'œil de Philippe Cavrivière is every morning at 7.55 p.m. on RTL.

This season, Philippe Cavrivière is also at 8.30 p.m.

Machine-generated transcript that may contain inaccuracies.