Les Grosses Têtes: INVITÉ - Maurice Bathélémy son livre "l'experience"

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RTL, it's time for the guest of the day.

And our guest of the day is director, screenwriter, actor, too.

We owe him films like Casablanca Driver, Papa, Les Exes, there on the coast.

And of course, he also knows, especially because he was one of the most important members of the Robins des Bois.

I'm asking you to welcome Maurice Barthélemy who publishes the experience.

A new book, hello Maurice Barthélemy.

It's the third book, right?

Exactly.

Often, it gives a show, a theater play that you adapt to, that you play yourself sometimes,

or a kind of conference, it will also be the case for the experience.

No, no, no, it will stop at the bookstatt.

But already, I took the pleasure of writing this first novel.

I didn't expect it at all.

In fact, it's my editor who came to see me and said to me,

we would like you to write a novel.

I said, no, no, it's not my thing, she told me here.

And I offered her an improbable story by persuading her to not validate anything.

And she said, OK, let's go, and I wrote my first novel.

The experience and this book, from memory, I can already try to pitch it to the listeners who are listening to us today.

It's an incredible story.

It's a boy who goes into a cinema, he's a little depressed, we can say that.

Yes, he's in Burnout.

That's it.

And on the screen, you may have better told it to me again.

What does it create on the screen of cinema?

It's a story that is, in theory, alone at the start, in the room.

In any case, he believes to be alone at the start.

That's it.

And then, in fact, he's called Leo.

And then, all of a sudden, the screen is written a sentence,

is it okay, Leo?

So suddenly, he thinks that, well, it's a coincidence, so he's bored.

And then, he answers nothing.

And then, the sentence reappears, is it okay, Leo?

And then he answers, well, yes.

And then, the next sentence is, are you sure it's okay?

And from that moment on, there will be a dialogue between the screen and him,

which is going to ask him very simple questions,

but just to try to understand what's going on in his life and why he's locked up.

So, not only the screen, there's also a dialogue with someone else who's in the room.

A young woman, a pretty young woman.

A pretty young woman who's there and who...

As a surprise.

Well, in the book, we're not going to make it ugly, it's the worker.

No, it's not the worker.

No, it's not the worker, it's a woman, it's a spectator,

and who's going to help him, in fact, to work a little on him

and try to understand what's going on in his house.

And, well, I really want to tell those who knock on their feet,

because what's funny is that before giving the screen,

they ask this boy to turn the cinema room to knock on his feet.

He's hesitating before doing it.

Yes, he's hesitating, but in fact, it's a bit anecdotal,

but the idea is to do unusual things in his life

that make him say to himself,

oh yeah, I'm able to do it,

so why not ask me questions a little deeper about myself

from the moment I accepted to do something absurd like jumping to knock on my feet?

So, we also realize that you love cinema a lot,

because that's it, Solif, it's a tribute to cinema.

You remember, through this fiction,

that it's better to go to a cinema room

than to watch a movie on Netflix, for example.

Or on other platforms.

Well, yeah, it's important to go to cinema, it's still...

It's also an experience, cinema, and you don't have to get lost.

So, I'm not worried, I think it's going to transform,

the current shape is going to evolve,

we're going to be more immersed in the future years,

but for me, it's very important to go to cinema.

But don't you feel more at home, sometimes?

Well, bravo.

Because I went to cinema, it's more sustainable,

the people, the screens that shine,

the people who discuss...

No, but we're not used to it, it's true...

The actors who speak too loud...

No, but it's true that we're often disturbed.

We're not used to being disturbed, I think.

You have a favorite cinema, you...

I'd love to go to the Goman Opera,

but they're breaking everything to make a new one,

so we'll see.

So, it's true that your previous books were adapted,

you say, no, for the theatre.

Finally, I'm stupid, since you love cinema,

experience, maybe give a movie, all of that.

Ah, maybe, maybe, maybe, we'll see if it works.

Ah, there you go, that was the idea.

We'll see, we'll see.

So, there won't be a lot of people for the...

No, no, no, but for example,

Quentin Dupu recently made a movie like that,

which takes place in a theatre.

It's true.

A Huit-Claude, so I was like, yeah, why not make one,

but shoot it on very few days?

It's at Plaud, the experience, signed by Maurice Barthélemie.

His third book, you still continue to write for the film,

I imagine.

Yeah, yeah, yeah, of course.

Directly, I'll tell you a story.

Yeah, I have a script there that will be uploaded soon.

And it's true that we learned during a previous book,

that you were super sensitive.

That's why no one will dare to make a remark today.

No, no, no.

Oh, yes, yes, yes, I have things to tell him.

Yes, yes, yes, yes, yes.

Figure it out, I haven't seen your show,

but I saw extracts where you explain hypersensitivity.

And I realized that I was a little unfair

with hypersensitivity people of my family,

who had symptoms that were therefore real,

and that it wasn't just when the noises are exacerbated,

don't mess with each other, etc.

And it helped me understand.

Now, I have a question for you.

Is hypersensitivity, you think that you at least have to learn

to adapt to the world around you,

or do people have to adapt to your hypersensitivity?

No, it's me who has to adapt.

I'm not going to force people to adapt to me,

otherwise I would be a tyrant.

No, I would just say that it's, on the other hand,

to me too, to be careful,

not to find myself in situations that will stress me.

For example, I don't know, I'm in a concert hall

where there is too much noise, it's going to stress me.

So it's a month to not go to this concert,

it's not a month to go see the singer,

to him saying, you're going to see the mute.

You're a big head in the face, right?

So in the cinema rooms, the noise of paper,

good, that would be something.

It's crazy, because I'm misophobic,

I have a problem, it's that the noise of my mouth makes me crazy.

So as soon as someone eats popcorn,

or croque in a apple, it makes me sick.

So it's a month to adapt to me,

but I just try to find an environment a little more...

It's not a problem for me.

It's a problem for her, it's a problem for emotions.

Strong as a super sensitive one,

it was one of your previous books.

And the first one had a title so amazing,

it was called, I spent my life looking for the open box.

Yes, it's the first book I wrote when I was 18, yes.

There was one that doesn't exist anymore.

But the one who just came out, it's called

The Experience and Chapeau,

part of the literary entry,

even if it's a very small book, you wrote short,

you were afraid to take the lecture.

No, because I'm short,

and above all, there are a lot of people who will say,

ah, it's not bad, it ends in two hours,

it's the time for a Paris Bordeaux,

and I say, well yes, it's a good argument.

You saw the Rousseau-Pour-Producaire of Woody Allen

with the characters who came out of the screen,

there was a dialogue,

and they said, it's a big movie.

Yes, exactly, yes, I saw them.

Maurice Barthélemie published The Experience,

and he stays with us until 18,

because in a few minutes,

he will join us,

Marc-Antoine Lebré.

Machine-generated transcript that may contain inaccuracies.