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* How did the project come about?
Claude Berri, the producer, knew of my passion for Asterix
and simply asked me to write and direct a new episode of Asterix
and Obelix’s adventure. I both directed a film and made
a childhood dream come true.
* Why did you choose `Asterix and Cleopatra’?
Claude felt that it was one of the most cinematic books in
the series. Personally, I love them all.
* How do you bring to life a story that everyone
knows?
I had a totally free creative rein while respecting the plot
line of the comic strip, altering and adding characters. Edifis,
for instance, is no longer an architect who builds everything
lopsided but an eccentric who has a very personal vision of
construction. After that, I had to work out how to respect
the rhythm of the boxes, Goscinny’s dialogue, Uderzo’s
visuals and add my own grain of salt. Basically, get back
to the spirit of the comic strip as an art form.
* What was it like working with Gerard Depardieu
and Christian Clavier?
Christian is astounding. He’s equally at ease with action
sequence as he is with microscopic nuances in his performance.
He’s a very demanding and precise person. He tops the
ERA (Ever Ready Actors) list. I like his cold humour and his
ability to throw himself into a scene like a child. It was
a joy working with him and a delight to watch him. Gerard
Depardieu is really `bigger than life.’ He is Obelix,
he’s never lost that fraction of childish wonder that
resumes all the character’s emotion. He is devastating
in his energy and precision. He’s incredible. Something
is always happening with him. To see and see again without
moderation.
* And the sublime Monica Bellucci?
A volcanic temperament, an incredible figure, the posture
of a queen and then that nose… I couldn’t have
hoped for a better Cleopatra than Monica. On top of all that,
she’s a comical, extremely kind and incredibly professional
woman. She really deserves her nicknames, `Belluccissima’…
* How about Getafix?
I feel that Getafix embodies wisdom and craftiness, a slender
figure with a sparkling eye, in other words Claude Rich in
person.
* Did you ask the actors to follow their lines or
give them a free rein to improvise?
Both. Comedy is a precise, spot-on mechanism. But once the
scene was in the can, if the actors felt like trying other
versions, I was always ready. Clavier, Depardieu, Jamel, Edouard
Baeer, Darmon or Dieudonne are excellent at improvisation.
I’m particularly fond of loss of control, helpless laughter,
surprises…It’s just the sheer pleasure of acting.
* What was your guideline for the sets?
In the `Asterix’ comic strip, the historical references
are rock solid. So there was no question of opting for anachronism.
We used a lot of documentation and worked with an Egyptologist.
With the production designer the idea was to be credible but
not necessarily realistic and allow ourselves a few flights
of fantasy. But, where historical truth is concerned, the
most learned Egyptologists will even be able to read jokes
in hieroglyphs. They’ll be the only ones to laugh but
I love the idea.
With the costumes, we followed the comic strip to the letter.
For the Egyptians, we created a whole range of Egyptian fashions.
`Street wear’ styles for Edifis, an unsettling and reptilian
look for Artifis and haute couture glamour fashion for Cleopatra.
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