Les Grosses Têtes: INVITÉE - Louane à l'affiche de "Maryline et son juge"

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

Our guest of the day is someone we love.

It will be on November 24th at Casino de Paris and next year at Olympia, November 11th and December 12th at Olympia.

That's for the dates to come.

His last album, Cartoon.

But it's also an actress who is the poster of a movie that we're going to talk about.

A movie with Michel Blanc, a movie made by Jean-Pierre Améris.

It's called Marilyn and Her Judge.

And the one who plays Marilyn is Loan, ladies and gentlemen.

Let's hear it with her last success before talking about movies.

It's time for the guest of the day.

It's not how it works.

I have eyes that run every day too much.

I would like you to forgive me.

Forgive me if sometimes I lose you.

Even if I know that nothing surprises you.

I have eyes that run every day too much.

Loan joined us.

Forgive me if sometimes I lose you.

This is your last album.

Sentimental.

I'm happy with the time because there was a re-edition of the album.

I said you will be at Casino de Paris in November next year and next year at Olympia.

But your news today, at least this week, is cinema.

Exactly.

I even want to say that since the Belly family there has not been such an important role for me.

I saw the movie yesterday.

And there really, you are again exceptional in this role.

The role of Marilyn, then Marilyn.

And her judge, her sister, Mère Caudier.

The judge, her judge is Michel Blanc.

It's a duo, more than a duo.

Besides, because I would like to mention the two other comedians who are great in this movie.

Victor Belmondo, who plays the one you love, your lover.

But hey, it's not going to go very well.

We're not going to tell you everything.

It's not going to go as you would like at the beginning,

so that we can say a reason for social differences between him and you.

And then the fourth important role is someone we like well,

that we had taken here at Grosse Tête at a time when he was a little weird,

but even in his roles, it's Philippe Rebeau who plays your dad in the movie.

Exactly.

And that's what this movie is about.

Exactly.

It's an important element, by the way, that's what it's about.

It's a very, very important element.

And besides, if I may, I loved this city and I loved going back there.

But I find it particularly well represented in the movie.

He really filmed Jean-Pierre.

Jean-Pierre Améry is the director who entrusted this role to you.

He explains that very quickly he thought of you to play this little servant

who is twenty years old, who is rather, let's say, a nature.

She is nature.

That's right.

She is nature.

She is almost a little naive.

She doesn't realize everything.

And at the same time, she has great confidence in her.

It's her nature.

Except that she falls in love and reciprocally.

Because he is also a boy's lover.

Let's say that he doesn't come from the same social environment.

Exactly.

That he has a lot of culture, it's only cinematographic.

And she doesn't at all.

She doesn't at all.

No, indeed.

And it's going to be a big hit in their relationship.

And the sequel becomes a little complicated.

So we won't talk about the sequel.

But among the customers of the café where she is, there is a judge.

He thinks that we can say it's in front of this judge

that she will end up going to court.

We won't say why.

And this judge, finally, after having condemned her

with sursi, in any case, as we call it.

It's not exactly sursi that she gets.

Yes, it's sursi and a amendment.

Yes, an amendment.

She has to pay 1500 euros if she goes to Rebonne.

And she doesn't have them.

And it's complicated.

So good that he goes.

He is nice, this judge.

He will engage to drive him, to be his driver.

Exactly.

Exactly.

And he doesn't find it stupid.

So he tries to push her out of her shoes.

Except that she has a rotten car.

It's a Twingo.

It's a pink Twingo with a blue door.

Yes, okay.

She is particular.

The first generation of Twingo.

I'm really in the early stages.

It's obviously a manual.

I know her very well.

We can talk about it for hours.

And it's hard to open the door of poor Michel Blanc

who plays the judge in this film.

The duo works wonderfully.

You were afraid of working with Michel Blanc.

Was it the first time you met Michel Blanc?

Yes.

And I wasn't particularly afraid until

everyone around me started putting pressure on me.

In the sense that all my friends, my family,

everyone said to me,

Oh, it's Michel Blanc.

And all of a sudden, it put pressure on me.

But it broke the pressure in two, in one second.

The film rests.

You have to say it on your shoulders

with very, very successful dialogues.

If I have to read the dialogues,

they are important in this film.

It's called Marilyn and her Judge.

It should be.

I hope so.

Good luck to her next Wednesday.

Luan, I'm obliged to introduce you

to other personalities who are here today.

Let's start with you.

Another me.

A second Laurent Ruequier.

Hello.

It's Laurent.

It's crazy.

Because corporally, it's the same thing.

So, I'm going to give you an intense answer.

So, Luan, in the film,

you take care of your father,

depressive Oavre.

Depressive Oavre.

It's a bit of a pleonism.

It's okay.

It's okay.

I like it.

Of course.

There are great things about Oavre,

like the guard of Oavre,

for example,

which allows you to take a train

to leave Oavre.

And also the port of Oavre,

which allows you to take a boat

to leave Oavre.

Or the airport of Oavre,

which allows you to take a plane

to leave Oavre.

There is no airport.

It's in Octoville, the airport.

Nothing but the name.

Nothing but the name.

It's funny in Octoville.

You're going to say that

to Mr. Edouard Philippe,

the mayor of Oavre.

You're going to see that.

You're going to welcome him.

Mr. Poivre is alone.

Did you meet him, Mr. Oavre?

I met him at the project

that we did with Oavre.

At the project?

Well, you did a project there.

That's normal.

I remind you,

in the film,

you are a servant

in a boat called Le Finiculaire,

because there is a Finiculaire

in Oavre, indeed.

To leave Oavre, then?

No, to go.

I remember, I took him

to go from the city

to the other city.

We take the Finiculaire.

And since you are servants...

There was no road?

Sorry?

There was no road.

How come?

There was no road.

Yes, but there is a coast.

Is it Valonnais?

It's very beautiful there.

When I stopped

to move you in Anne,

Oavre.

And in any case,

Luanne is a servant

in the Finiculaire bar.

And Philippe Chabets,

you just wanted to talk to you.

Wow!

Luanne!

I love you in the film.

You play a little bit of a servant,

but I would never have

put you in my restaurant.

The cream is inverted.

It's the name of the dessert.

Not the way to serve it.

Fuck!

Wow!

Shit, I broke the table.

Wait, but it's a hit.

Take a piece of shit

and finish with a slice of bread.

However, in the film,

you learn that if you make conneries,

as long as you do it with sincerity,

it works.

Since I saw your film,

I'm much cooler

with my comis.

The other time,

my second to miss a Bernese,

I didn't even hit her

with a beef cutlet.

I took a Daniel's cutlet.

Fuck!

Wow!

With this film,

it also calls for tolerance

and the fact that

we learn a lot from each other.

He, Michel Blanc,

he learns a lot from you

and you learn a lot from him.

That's the meeting in this film.

Exactly.

It's a meeting

which is special

because it's a meeting

between two social media

and both generations.

And I think it's

doing really well.

Is it true that you called her

Mishmish

on the shooting, Michel Blanc?

Always.

We were together

an hour ago

on a show

and then Mishmish

every day.

Gérard,

he's used to being called

Michel Blanc?

No.

We were together

and we called her Mishmish.

Mishmish?

Not bad.

I'm going to change it.

Call her Mishmish

from the part of Gérard

in Junior

next time.

Not at all.

It's going to be a pleasure.

It's a very, very important role

for you.

This film, Marilyn and her judge,

I told her,

we rarely saw you on the screen.

First of all,

you can turn

for the cinema,

you have to say it.

And it's the fourth film

only.

Yes, the fourth film only.

But a role

as important as

Belie,

why am I talking about the Belie family?

Because there is

François Damien,

who is there.

Hello, hello.

So Lou,

it's weird to see me.

It should be weird

to hear me

because the last time

I was mute.

He didn't understand Junior.

It remains a good memory.

It remains a good memory,

the Belie family.

It's a very, very good memory,

obviously.

And do you have

the feeling

that you have changed

your way of playing?

How long has it been

in the Belie family, by the way?

Are you sure you want to know?

Yes, because

I remember having received

you at the time.

It's been ten years.

Unfortunately.

And what a huge success.

In any case,

in the song, bravo,

we are very, very happy for you.

And this film

should be a huge success too.

It's coming out.

Mercury, Marilyn and her judge,

you stay with us

and with Marc-Antoine Lebray,

obviously,

we meet in a moment.

We meet in a moment.

Machine-generated transcript that may contain inaccuracies.