Eternal Gondry / Unofficial M. Gondry Weblog

#VIDEOS / Paul in The Dirty Durty Diary Issue

2011-06-12T15:03:00.000-07:00

A Quick Flip Through of the Bi-Annual Print Magazine: The Dirty Durty Diary "The Introduction" .

Editor-in-Chief Maya Contreras.

Starring Larry Clark, Calvin Klein, Matthew Barney, Eli Roth, Paul Gondry, Aska, Marc Jacobs, Michael Pitt, Jamie Bochert, Tiffany Limos, and many more.

#VIDEOS / Michel Gondry Live in Cannes (drums)

2011-06-12T14:58:00.001-07:00

#VIDEOS / Original Michel Gondry Green Hornet Fight Test Footage

2011-06-12T14:58:00.000-07:00

#VIDEOS / Smirnoff - Michel Gondry Advert

2011-06-02T12:26:00.000-07:00

#VIDEOS / Michel Gondry contre les camions en c...

2011-05-29T02:10:00.000-07:00

Michel Gondry revient sur la science des rêves et son rapport à l'art contemporain, à l'occasion des 10 ans du MIAM ou est exposé jusqu'au 2 octobre une installation incluant des accessoire de la science des rêves. Avec la participation de Sylvain Arnoux, architecte et concepteur de PQ ville.

#VIDEOS/ NOWNESS.com presents: Diary of Cannes

2011-05-29T02:07:00.000-07:00

Michel Gondry, Spike Jonze and Jamie Foxx pop up in this freewheeling diary of Cannes from filmmaking duo Roberto de Paolis and Carlo Lavagna.

#NEWS / Michel & Audrey

2011-05-22T14:29:00.003-07:00

Michel Gondry Says He’ll Be Directing A French Language Film Starring Audrey Tautou !!!

#ITW / Michel Gondry, Reluctant Cannes Judge

2011-05-22T14:28:00.000-07:00

Michel Gondry, Reluctant Cannes Judge

CANNES, France — By his own admission, Michel Gondry is not really cut out to be a judge. “I’m against competition,” Mr. Gondry, the French-born director of “Eternal Sunshine of the Spotless Mind” and “The Green Hornet,” explained recently. This may present a challenge to his role as the president of the short film jury at the Cannes Film Festival here, where he is tasked with, you know, picking a winner. Even when it comes to film, Mr. Gondry doesn’t think of himself as a particularly critical person. “Not in my territory, because I feel very under-confident,” he said, in an interview on the terrace of the Majestic Hotel on Wednesday. “I feel heavily criticized. I don’t feel I have the shoulder or the legitimacy of being critical for other people’s work.”.....

#NEWS / And the winner is...

2011-05-22T14:24:00.000-07:00

Palme d'Or du court métrage
CROSS réalisé par Maryna VRODA

Prix du Jury - court métrage
BADPAKJE 46 (MAILLOT DE BAIN 46) réalisé par Wannes DESTOOP

#NEWS / Back to the festival

2011-05-22T14:19:00.000-07:00

Le video blog de michel gondry

#NEWS / Festival de Cannes : Rencontre avec Michel Gondry

2011-05-22T09:48:00.000-07:00

#VIDEO / Michel Gondry: Reel Life, Real Stories

2011-05-15T01:46:00.000-07:00

#NEWS / The green hornet on dvd

2011-05-08T08:05:00.000-07:00

'The Green Hornet' is out on DVD/Blu-ray.

BONUS
Filmmakers' Commentary
"Awesoom"-Gag Reel
Writing The Green Hornet
The Black Beauty: Rebirth of Cool

The 3D Blu-ray, Blu-ray, and DVD combo set have all of the extras on the non-3D Blu-ray, save for the commentary which appears on both Blu-ray discs. For the rest of the extras, all filmed in 2D, you’ll have to put in the 2D Blu-ray disc, and upon doing so you’ll find a healthy selection of production featurettes including a look at the editing, the casting of Jay Chou as Kato, the Armstrong family (4 of whom were responsible for stunts in the film), the redesign of the Green Hornet’s Black Beauty, a look at Gondry’s method, and the fun of pyrotechnics and destruction on film. Then we have bloopers (pretty good), deleted scenes, and then a look at the adaptation of the story for a modern audience.

#News / Best music videos

2011-05-04T04:31:00.000-07:00

10 Reasons Why Michel Gondry Should Stick to Music Videos

#NEWS / Cannes 2011

2011-04-20T12:46:00.000-07:00

Go to Festival de Cannes

The Cinéfondation and Short Films Jury presided by Michel GONDRY will welcome:

Julie GAYET, Actress and Producer, France

Julie Gayet began her acting career in A la belle étoile, three years before winning the Romy Schneider Prize in 1996. Since then she has starred in films directed by Michel Deville, Agnès Varda, Merzak Allouache, Emmanuel Mouret and Patrice Leconte, to name but a few. In 2007, she founded her own production company, Rouge International, which would go on to carry out ambitious projects such as Fix me and Huit fois debout.

Jessica HAUSNER, Director and Producer, Austria

Having studied at the Filmakademie de Vienne, Jessica’s first short film, Flora (1996), was awarded a Léopard d’or in Locarno while her final-year film received special praise from the Cinéfondation Jury at Cannes. Her first two feature films, Lovely Rita (2001) and Hotel (2004), were selected for the Un Certain Regard section. Her subsequent film, Lourdes, was invited to compete in Venice in 2009 where it won the FIPRESCI Prize.

Corneliu PORUMBOIU, Director, Romania

His first short film, Calatorie la oras (A Trip to the City) was awarded second prize by the Cinéfondation in 2004.
His first feature film, 12:08 East of Bucharest won the Caméra d’or at Cannes in 2006. Corneliu returned to Un Certain Regard in 2009 with Police, Adjective (FIPRESCI Prize).

João Pedro RODRIGUES, Director, Portugal

João Pedro RODRIGUES started out as an Assistant Director and Editor. In 1997, his short film, Parabéns! (Happy Birthday) won an award at the Venice Mostra. He would appear there again in 2000 with O Fantasma (Phantom), his first feature film. In 2005, the Quinzaine des Réalisateurs screened Odete (Two Drifters), and then in 2009, Morrer Como Um Homem (To Die Like a Man) was selected for Un Certain Regard.

#Oldies / The science of sleep symphonic suite

2011-04-16T05:38:00.000-07:00

#NEWS / Cinéfondation

2011-04-15T15:13:00.000-07:00

The 2011 Festival de Cannes Cinéfondation selection, which presents movies from film schools in the framework of the official selection, features 16 graduate films this year from eleven countries, including two animated movies. The lineup was culled from a whopping 1,589 entries originating from 360 film schools.

The Cinéfondation jury, headed by Michel Gondry, will announce the three Cinéfondation prizes on May 20.

Cinéfondation Competition:

“Casey Tigers,” directed by Aramisova Famu
“Suu and Uchilkawa,” directed by Nathanael Carton
“The Trip,” directed by Simão Cayatte
“On My Doorstep,” directed by Anat Costi
“The Agony of Sweat of the Human Spirit,” directed by D. Jesse Damazo and Joe Bookman
“Lunchbox Story,” directed by Pieter Dirkx
“The Letter,” directed by Doroteya Droumeva
“Duel Before Nightfall,” directed by Alice Furtado
“Drari,” directed by Kamal Lazraq
“Salsipuedes,” directed by Mariano Luque
“The Wedding Party,” directed by Gaston Margolin and Martin Morgenfeld
“Till Summer Comes,” directed by Pasquale Marino
“Big Muddy,” directed by Jefferson Moneo
“Martha Must Fly,” directed my Ma’ayan Rypp
“Fly by Night,” directed by Son Tae-gyum
“Changeling,” directed by Maria Steinmetz

#FAV / Rubber

2011-04-11T09:53:00.000-07:00

One of the greatest film of the year ! on DVD

#NEWS / Bilan de l'usine

2011-04-11T09:47:00.000-07:00

Go to streepress

L’Usine de films amateurs est un succès. Neuf groupes de quinze personnes ont participé chaque jour, à raison de six jours par semaine pendant six semaines. Soit 9*15*6*6 = 4 860 sociopathes.

Dommage pour ceux qui n’ont pas eu droit à leur séance de psy grandeur nature, car l’Usine de films amateurs, c’est fini. L’exposition s’en va à Los Angeles, puis en Russie. Bonne nouvelle pour les nostalgiques, une projection de tous les films tournés-collés à Pompidou va bientôt être organisée.

#NEWS / Biophilia

2011-03-29T00:39:00.000-07:00

Le retour de la plus célèbre chanteuse islandaise se fait petit à petit, révélant des informations toujours plus surprenantes les unes que les autres. Souvenez-vous, au mois de janvier, Björk déclarait s’inspirer du magazine "National Geographic" pour son prochain opus. Une annonce qu’elle a réitéré à la presse islandaise il y a peu : « J'ai rencontré des gens totalement fous qui ont passé quatre ans en Afrique auprès des lions et des insectes. Au cours d’une soirée, après avoir bu un verre de whisky avec eux, j'ai écouté leurs histoires. C'est une des collaborations que je pourrais évoquer… ». Une simple rencontre à l'origine d'un projet d'envergure qui présage la parution d'un nouvel album pour faire suite à "Volta" (2007), dernier disque signé de sa plume. Un premier extrait vient d'être dévoilé par la chanteuse via un clip à l'image de ce nouveau projet. Il a été réalisé en collaboration avec Michel Gondry, celui à qui l'on doit notamment ses clips "Human Behaviour", "Army Of Me", "Isobel", "Hyperballad", "Bachelorette" et "Joga".

L'interprète de "Venus As A Boy" présente un projet conceptuel et ambitieux où musique et images s'entremêleront grâce à de nouvelles expérimentions sur les applications Apple. Cette annonce bien mystérieuse atteste de la vigueur créative qui anime la chanteuse. Le projet a pour but d’explorer le fonctionnement du son, « l’étendue infinie de l’univers, des systèmes planétaires aux structures atomiques ». La première mondiale de ce projet "Biophilia" aura lieu lors du Manchester International Festival pour une résidence de 3 semaines pendant lesquelles se joueront six prestations au Campfield Market Hall, devant mille huit-cent personnes (du 30 juin au 16 juillet). Pour ces 6 concerts spéciaux, Björk chantera des titres de son prochain album studio "Biophilia" ainsi que d’anciens titres avec un petit groupe de collaborateurs uniques dont l’Icelandic Female Choir.

Le spectacle "Biophilia" devrait par la suite s'exporter dans les plus grandes villes du monde. « Le festival travaillera également avec des jeunes à Manchester afin d’explorer les idées musicologiques, scientifiques et technologiques amenées par ce projet. Une série d’ateliers pour écoliers leurs donnera l’opportunité d’expérimenter le monde de "Biophilia" et de plonger dans un lieu infiniment riche et inspirant grâce à la rencontre de la technologie de pointe ».

The return of the most famous Icelandic singer is gradually revealing information even more surprising as each others. Remember, in January, Bjork said the inspiration magazine "National Geographic" for his next album. Ad she reiterated to the press Icelandic ago: "I met totally crazy people who spent four years in Africa with lions and insects. During an evening, after drinking a glass of whiskey with them, I listened to their stories. This is one of collaborations that I could mention .... " A simple encounter with initiated a major project that presages the publication of a new to follow up album "Volta" (2007), signed his last album pen. A first single has just been unveiled by the singer via a clip in the image of this new project. It was produced in collaboration Michel Gondry, to whom we owe her videos "Human

Behaviour "," Army Of Me, "" Isobel, "" Hyperballad, "" Bachelorette "and "Joga".

The interpreter of "Venus As A Boy" and presents a conceptual project ambitious where music and images mingle with new experimenting on the Apple applications. This announcement very mysterious attests to the creative force behind the singer. The project To explore the operation of sound, "the endless The universe, planetary systems to atomic structures. " The world premiere of this project, "Biophilia" will take place at the Manchester international Festival for a residence for three weeks which will be played six benefit Campfield Market Hall, before housand eight hundred people (from 30 June to 16 July). For these 6 events Special Björk sings songs from his upcoming studio album "Biophilia" and former securities with a small group of employees whose unique Icelandic Female Choir.

The show "Biophilia" should then be exported to most major cities worldwide. "The festival will also work with young people in Manchester to explore ideas musicological science and technology brought by this project. A series workshops to give their students the opportunity to experience the world of "Biophilia" and sink into a much richer and inspiring to meet with the technology.

#NEWS / Ubik

2011-03-22T12:14:00.002-07:00

Go to le figaro

Y aurait-il un autre roman de votre père que vous voudriez voir adapter au cinéma?

Isa Dick, fille du célèbre auteur

"Nous sommes en train de travailler sur une adaptation du Maître du haut château pour la télévision sous la forme de séries pour la BBC avec la société de production de Ridley Scott. C'est très intéressant de travailler sur un nouveau média et d'avoir à travers celui-ci plus de temps à l'écran pour raconter l'histoire de manière plus complète. Nous produisons également une adaptation d'Ubik avec les réalisateurs Michel Gondry et Steve Zaillian. Nous sommes aussi enthousiastes face au projet de Disney Animation pour Le roi des Elfes. Je pense qu'il est très important de souligner toutes les facettes du travail de mon père. Les projets que nous produisons sont donc très variés ! L'objectif est toujours le même, revenir à la source de ce qu'avait écrit mon père. Il est important d'attirer de nouveaux spectateurs. Tout comme il est important de satisfaire les fans inconditionnels de son travail".

Isa Dick "We are working on an adaptation of the Master of the High castle to television in the form of series for the BBC with the production company, Ridley Scott. It's very interesting working on a new medium and having to through it over screen time to tell the story more completely. We also produce an adaptation of Ubik with directors Michel Gondry and Steve Zaillian. We are also excited about the project Disney Animation The King of the Elves. I think it is very important to highlight all facets of the work of my father. The projects we produce are very diverse! The objective is always the same, back to the source of my father had written. It is important to attract new viewers. Just as it is important to satisfy hardcore fans of his work"?

#NEWS / Bjork !

2011-03-18T10:48:00.000-07:00

Michel travaille en ce moment à l'identité visuelle et les images des prochains concerts de Bjork.
Michael is currently working on the visual identity and images of Bjork's upcoming concerts

#VIDEOS / Michel : ses films de chevet

2011-03-15T02:36:00.000-07:00

#VIDEOS / New music video ! Living Sisters - How Are You Doing?

2011-03-10T01:23:00.000-08:00

#VIDEO / Dans les coulisses de l'Usine de films

2011-03-08T01:19:00.000-08:00

#NEWS / La lettre chez pompidou

2011-03-06T00:50:00.000-08:00

La Bibliothèque publique d'information (Bpi) du Centre Pompidou organise une projection audio-décrite du court-métrage de Michel Gondry, La Lettre, le dimanche 13 mars. Cette projection accessible aux non-voyants et ouverte à tous viendra clôturer l'atelier d'audiodescription amateur qui se tiendra le week-end du 5 et 6 mars à la Bibliothèque. Projection le 13 Mars à 17h au cinéma 2 niv. -1 du Centre Pompidou Rue Saint-Martin à Paris.

#VIDEOS / Exemple de films amateurs !

2011-03-01T09:29:00.000-08:00

#NEWS / Spleen

2011-02-26T09:09:00.000-08:00

Go to Blog l'Express

Vous écoutez quoi en ce moment?
J’ai vu ce jeune garçon, Spleen. Il a fait cette musique qu’on entend beaucoup dans mon film L’Epine dans le cœur. Justement, il va venir jouer à la projection du film au Centre Pompidou [c'était le 18 février]. J’aime beaucoup ce qu’il fait.

What are you listening to right now?
I saw this young boy, Spleen. He made the music you hear much in my film The Thorn in the heart. He will come and play to the film at the Pompidou Center [it was Feb. 18]. I Like very much what he does.

#NEWS / Box office

2011-02-25T05:33:00.000-08:00

Go to Box office mojo

BOX OFFICE The Green Hornet (Feb. 23)

Domestic: $95,850,022
+ Foreign: $121,512,312
= Worldwide: $217,362,334

#VIDEOS / Gondry & Bernard at Beaubourg

2011-02-23T00:26:00.000-08:00

Vous aurez reconnu le Voyage en Ballon.

#NEWS / Michel président !

2011-02-23T00:16:00.000-08:00

Michel Gondry has been tapped to head up the short film and Cinefondation jury of the 64th Festival de Cannes.

Michel présidera le jury des courts métrages et de la Cinéfondation lors du prochain Festival de Cannes du 11 au 22 mai prochain.

Go to Cinefondation

# PICTURES / Michel dans son/notre usine

2011-02-20T08:13:00.000-08:00

#ITW / A propos de l'Usine

2011-02-20T07:43:00.000-08:00

Interview Telerama

Interview Rue 89

Interview Les inrocks

Gondry nous fait visiter son Usine de films amateurs
envoyé par lesinrocks. - Regardez plus de courts métrages.

#NEWS / L' usine de films amateurs (pratique)

2011-02-20T07:36:00.000-08:00

Go to allocine

Plan de l'usine

Programme des séances ICI/HERE

#VIDEOS / Visite de l'usine

2011-02-19T11:00:00.000-08:00

Soyez sympas, rembobinez Reportage (3) - AlloCiné

#NEWS / A Philip K. Dick project ?

2011-02-17T03:03:00.000-08:00

Go to Bscreview

To celebrate the launch of The Factory Movie Lovers [an exhibit] at the Centre Pompidou, [Paris], Michel Gondry has revealed he was currently working on an adaptation of Ubik, novel written by Philip K. Dick in 1966.

His Green Hornet continues on its merry way through the halls, but Michel Gondry is not resting so far and today launches its plant amateur films, exposure like no other and in line with its feature films, held Centre Pompidou until March 7. And after? … The director has revealed he was currently working on a major project: the adaptation of Ubik, written by Philip K. Dick in 1966. If the film version of the letter follows the novel that inspired it, it will be about a man, unable to determine whether he is alive or dead after an explosion, which sees the world disintegrate before his eyes.

FR : Son Green Hornet continue son petit bonhomme de chemin dans les salles, mais Michel Gondry ne se repose pas pour autant et lance aujourd'hui son exposition pas comme les autres et dans la lignée de ses longs métrages, qui se tient au Centre Pompidou jusqu'au 7 mars. Et après ? Rencontré à l'occasion de l'événement pré-cité, le réalisateur nous a révélé qu'il travaillait actuellement sur un projet d'envergure : l'adaptationn d'Ubik, écrit par Philip K. Dick en 1966. Si la version ciné suit à la lettre le roman dont il s'inspire, il sera donc question d'un homme, incapable de déterminer s'il est vivant ou mort après une explosion, qui voit le monde se désintégrer sous ses yeux. Avec ce projet,Michel Gondry sauterait à pieds joints dansla SF, après avoir parsemé ses films de touches fantastiques, et confirmerait que Philip K. Dick a toujours autant la cote sur grand écran, alors que L'Agence, tiré de la nouvelle Adjustment Team s'apprête à sortir dans les salles.

#ITW / Michel Gondry et l'usine de films amateurs

2011-02-16T00:22:00.000-08:00

Go to Next Libération

Bon, on arrive à Beaubourg, qu’est-ce qui se passe ?

A l’heure fixée du rendez-vous, le groupe [de 8 à 15 personnes, ndlr] se met au boulot. Il y a d’abord un atelier d’écriture. Si on demande à brûle-pourpoint aux gens quelle histoire ils veulent raconter, ils ne savent pas quoi répondre ; mais si on leur demande quel genre de film ils veulent faire, les choses se déclenchent immédiatement. Le projet fonctionne donc selon le schéma de la pyramide inversée : on part d’un point a priori anecdotique - la décision de faire plutôt une comédie, un film d’horreur ou un polar - et, peu à peu, on complexifie et on enrichit chaque étape jusqu’au résultat final. On incite à combiner deux genres afin de faire des choses bizarres : la comédie + le documentaire ou le polar + le film de famille. Ensuite, collectivement, on définit le titre. C’est l’étape où les gens se lâchent. Les titres fusent et, en fonction de ceux qui ont recueilli le plus de voix, on fusionne deux titres. A partir de ce simple fragment, on crée l’histoire qui ne se compose pas de dialogues mais d’un synopsis découpé en une dizaine de séquences.

Il n’y a pas d’auteur ? De metteur en scène ?

Non, pas de chef mais une logique de groupe. Il y a juste une personne qui se charge d’organiser l’agenda du groupe et d’aider à la caméra. L’encadrement, c’est juste si ça coince, car ce qui m’intéresse le plus c’est l’idée du système autogéré. Le système que j’ai mis au point est fait pour que les gens puissent créer et définir leur périmètre. On passe ensuite à un autre atelier où chaque partie de l’histoire est découpée, et on choisit les décors, les accessoires, les costumes. Il y a des choses alléchantes : un cabinet médical ; une voiture coupée en deux avec la pédale de l’accélérateur reliée à une bande-vidéo qui fait défiler, en arrière-fond, des images de façon plus ou moins rapide ; il y a un bouton pour choisir nuit-jour, campagne-ville… ce genre de choses. On fait Rec-pause-Rec-pause, on ne rembobine pas, il n’y a pas de postproduction, on projette directement le résultat après avoir dessiné une jaquette de DVD. L’idée c’est que tout est plié en trois heures. Au bout du compte, je ne sais pas pourquoi ce truc me fascine. Mais j’aime le principe d’un protocole qui, à partir de règles simples et d’un timing délimité, permet à un groupe de s’entendre, de se montrer créatif ensemble et d’en tirer une certaine joie. Chaque fois, la projection est hilarante, ce qui est bien est merveilleux, ce qui est raté est rigolo. Les films sont faits pour être vus par ceux qui les ont faits, pas pour être mis sur le Net. Je n’ai pas envie qu’ils deviennent la cible de moqueries. On a fait 150 films de cinq minutes à New York, une centaine à Rio de Janeiro.

Cette dimension collaborative est-elle une manière de rompre avec la passivité du visiteur de galerie ou du spectateur de cinéma ?

Je n’ai pas envie de plaquer un discours particulier sur ces ateliers. C’est un désir qui remonte à plusieurs années. Je me souviens que lorsque je vivais dans le XVIIIe arrondissement de Paris, je me disais qu’on pourrait investir le cinéma Louxor, déserté, et créer ce système d’ateliers de cinéma ouverts aux gens du quartier. Les gens paieraient le ticket pour réaliser le film et se le projeter. Evidemment j’avais soigneusement omis d’intégrer dans mes plans le coût de location du lieu ! Inutile de dire que ça ne s’est jamais fait. Je me souviens aussi avoir vu The Cure en concert quand j’étais adolescent. Je me disais que c’était une musique magnifique et, en même temps, on comprenait comment elle était faite et ça donnait envie de faire comme eux. L’idée c’est que l’énergie accumulée par un certain nombre de personnes est suffisante pour satisfaire précisément ce nombre de personnes-là. En ce sens, on peut dire que subsistent dans le projet des réflexions personnelles sur les illusions hollywoodiennes et de l’usine à films, qui consistent à mobiliser l’énergie d’un petit nombre de gens pour inonder la planète de rêves de plus ou moins bonne qualité.

En même temps, vous venez de signer votre premier blockbuster avec The Green Hornet. C’est un peu paradoxal, non ?

Il y a chez moi une petite culpabilité d’appartenir à une fraction de privilégiés qui gagnent leur vie en s’amusant. Il y a une suite de coïncidences bien entendu qui vous permettent ou pas d’accéder à ce milieu. Mais surtout des contraintes objectives, sociales, pèsent sur de nombreuses personnes afin qu’elles ne puissent jamais rejoindre le monde créatif. Le recrutement des équipes de cinéma se fait par le bouche à oreille, les réseaux de proches, machin qui connaît untel, etc. Notre monde est petit parce qu’on ne le partage pas. On se serre les coudes. C’est naturel, mais on peut réfléchir à des méthodes pour l’élargir. En tant que réalisateur, j’incorpore un petit peu cela à ma pensée. Cette culpabilité, je la conserve pour un peu orienter mes choix, comme ce fut le cas sur Soyez sympas, rembobinez, où on a travaillé avec les gens de Passaic [dans le New Jersey], une ville ethniquement très mélangée. Bon, en même temps, je n’ai pas spécialement envie de susciter des vocations chez tous ceux qui vont participer, mais l’idée de pérenniser l’opération sur le long terme me trotte dans la tête. Il faudrait trouver un lieu à Paris - j’ai eu des contacts avec des gens à la mairie -, ou dans une ville dévastée économiquement, comme Detroit, où on pourrait fédérer les énergies perdues pour faire quelque chose.

Vous avez vous-même appliqué ce protocole ?

J’étais pas super partant à dire vrai. Il a fallu que je picole un peu, mais après ça s’est bien passé, je me suis pris au jeu. Mais j’ai plutôt tendance à vouloir rester en retrait. En tout cas, l’important n’est pas seulement de participer, mais de terminer. Il faut se botter le cul pour parachever ce que l’on a commencé, parce que sinon je sais d’expérience qu’on laisse tout en friche et on n’aboutit à rien. Le compte à rebours sur trois heures sert précisément à ce que le truc ne parte pas en vrille ou ne se délite par excès de temps.

Ces ateliers s’inscrivent dans la droite ligne de l’esthétique du bricolage et de l’ingéniosité technique que vous avez porté à un point de sophistication absolue dans les clips de Björk, des White Stripes ou de Kylie Minogue. Votre approche est plus visuelle que verbale…

J’ai peu lu étant jeune, le verbe me semblait utilisé en classe pour accaparer le pouvoir et je préférais de loin le dessin qui me semblait plus humble et plus intérieur. J’ai longtemps eu le complexe de ne pas être un intellectuel, c’est d’ailleurs la raison pour laquelle je ne me suis pas senti à l’aise dans le cinéma français, que je trouvais très réfléchi et plutôt bourgeois. Je ne me sentais pas à ma place. Et puis l’opportunité d’enfin réaliser mon premier film s’est produite aux Etats-Unis avec Human Nature. J’étais convaincu que la sortie du film allait être une apothéose, le plus beau jour de ma vie, et ce fut horrible puisqu’il est sorti le 12 septembre 2001, le lendemain des attentats. Et en plus j’ai eu plein de mauvaises critiques !

Et pendant les ateliers, personne n’a pris la caméra pour la fracasser sur son voisin ?

Non. On a fait une expérience en banlieue nord, c’était un peu chaud, dès que quelqu’un osait s’exprimer il se faisait chambrer. Après, les filles, qui en avaient ras le bol, ont voulu prendre le pouvoir et les mecs étaient à fond contre. Et puis le processus a fini par mettre tout le monde dans une bonne attitude.

#NEWS / L' usine de films amateurs

2011-02-15T01:11:00.000-08:00

TOMORROW / DEMAIN !

Go to Centre pompidou

CENTRE POMPIDOU (PARIS, France)

16 février - 7 mars 2011

11h00 - 21h00

L'Usine de films amateurs vous invite à venir créer votre propre film, en suivant un protocole simple imaginé par Michel Gondry, dans un studio de cinéma reconstitué pour l'occasion.

À la manière de Jack Black et Mos Def dans le film de Michel Gondry, Soyez sympas, rembobinez, vous pouvez fabriquer un film de A à Z en un temps record (3h !).

Vous souhaitez participer ? Cette activité est proposée gratuitement à tous, nous vous recommandons de vous inscrire à l'avance, pour former ou rejoindre un groupe de 5 à 15 personnes.

Après une première visite des lieux et un passage par les accessoires, vous passerez à « l'action », depuis l'écriture du scénario et le choix des acteurs jusqu'au tournage et à la réalisation des effets spéciaux « bricolés » sur place !

Aucune formation n'est nécessaire, l'objectif est de se faire plaisir en fabriquant son propre film !

Un ensemble de décors et de machineries simulant à la fois des intérieurs et des extérieurs vous offrent la possibilité de tourner un nombre infini d'histoires. Tout le matériel nécessaire est mis à votre disposition pour que vous soyez autonomes.

Trois heures plus tard, vous repartez du studio avec un DVD de votre film !

Informations pratiques :

L'Usine de films amateurs est ouverte à partir du 17 février, tous les jours sauf le mardi, de 11h à 21h.

Retrouvez également l'ensemble des films de Michel Gondry, longs et court métrages, clips, pubs et inédits, ainsi qu'une carte blanche en 5 films, en sa présence, dans les salles de cinéma du Centre Pompidou, du 16 février au 13 mars 2011.

ENG Michel Gondry’s inspired 2008 film ‘Be Kind Rewind’ launched a new cinematographic technique, ’sweding’, or ingenious low-fi remakes of classic films. (Search ’sweded’ on YouTube to get more of an idea). Gondry continues to defend his invention, and is presenting in Paris, to coincide with a retrospective of his films, his Amateur Film Factory (L’Usine de Films Amateurs). The master director will personally take you through the production of your very own film, from writing the script, to choosing the actors, shooting, and, of course, coming up with your home-made special effects, during daily workshops of 5-15 people. Three hours later, you leave with a DVD of your own little masterpiece.
Reservations open today, the workshops are FREE! and take place from Thu 17 Feb-Mon 7 March, in the Centre Pompidou’s Espace 315, kitted out like a real film studio for the occasion. 
17 Feb – 7 Mar, 11am-9pm. Espace 315, Centre Pompidou, rue Beaubourg, 4th. 01 44 78 12 57. www.centrepompidou.fr/

#NEWS / A top videos clip of all time

2011-02-11T02:27:00.000-08:00

Go to Pedestrian TV

1. Daft Punk "Around The World"
"How Michel Gondry hasn't won a music video award yet is beyond me. He has been pushing the limits of the art form since day one. The man is a true artist. Now I could literally write a book on why I think this video is amazing, but I'll stick to the basics. The best part to me is that the video matches Daft Punk's musical style of repetitive layering so well. Each group of dancers seems to represent a different sound or instrument in the song that repeats over and over again. If you watch carefully you'll see what I'm talking about. It becomes so hypnotic, exactly like the song. That's something that daft punk is so great at doing, hypnotizing its listeners. I think Michel Gondry has done just that to his viewers with this video."

2. Fat Boy Slim "Weapon Of Choice"

3. Michael Jackson "Thriller"
4. Lykke Li "Little Bit"
5. Aphex Twin "Windowlicker

#NEWS / Next project....

2011-02-08T13:27:00.000-08:00

Untitled Noam Chomsky Documentary (2013 ?)

A series of interviews featuring linguist, philosopher and activist Noam Chomsky done in hand-drawn animation (Imdb).

Noam Chomsky is an American linguist, philosopher, cognitive scientist and a political activist. He is an Institute Professor and professor emeritus at the Massachusetts Institute of Technology. Chomsky is well known in the academic and scientific community as one of the fathers of modern linguistics and a major figure of analytic philosophy. Since the 1960s, he has become known more widely as a political dissident and an anarchis, referring to himself as a libertarian socialist.

Noam Chomsky est un linguiste et Philosophe américain. Professeur émérite de Linguistique à la Massachusetts Institute of Technology où il a enseigné toute sa carrière, il a fondé la linguistique générative. Il s'est fait connaître du grand public, à la fois dans son pays et à l'étranger par son parcours d'intellectuel engagé de sensibilité anarchiste. Michel (Collider) "I’m doing an animated documentary on Noam Chomsky. So it’s very specific. I’ve been interviewing him many times and I took all the sound, because I barely shot him… I shot him a few occasions but mostly it’s sound. I’m doing it in animation so I have my animation camera, it’s a Bolex 16mm. And I’m doing all the drawings. It’s something I do every night when I go home. It’s very exciting to be very complex because we talk about linguistics and it’s… captivating because he has this very personal and convincing views on how language was created as a genetic mutation more than a slow, evolutionary process. And I’m illustrating that."

#Oldies / The White Stripes - "Fell in Love with a Girl"

2011-02-06T14:02:00.000-08:00

#NEWS / The 2011 UWM Festival of Films in French

2011-02-03T02:44:00.000-08:00

The 2011 UWM Festival of films in French

The Thorn in the Heart - Michel Gondry (France, Feb. 5 ; 13)
Where ? Union Theatre, 2200 East Kenwood Boulevard, Milwaukee WI

There’s a reason it’s not called the “French Film Festival.” The 2011 incarnation of the UWM Festival of Films in French – in its 14th year of existence – includes the globe-spanning features of filmmakers from France, Canada and Guyana.
It touches on the issues and concerns of still more nations, an illustration of the multiculturalism, diversity and accessibility of cinema in the 21st century and the modern global reach of perhaps the most significant language in the annals of film’s development.
Its submissions range from the works of the monumental silent masters of the early 20th century to the most recent of films, from the likes of a modern master of the form (namely Michel Gondry) to a young auteur (Xavier Dolan), whose rise is nothing short of meteoric. In anticipation of the festival’s run (Feb. 3-15), the Post has cobbled together a short, wholly insufficient preview for the event, the popularity and breadth of which are expanding rapidly.

#VIDEO / C'est ça la promo !

2011-02-02T01:40:00.000-08:00

#VIDEO / Interview by DJ Terry for ICRT

2011-01-30T04:53:00.000-08:00

#Oldies / Daft punk - Around the world

2011-01-27T06:47:00.000-08:00

Retrouvez une description géniale du clip dans le livre de Violaine Schütz : Daft punk, around the world / Find a great description of the clip in the Violaine Schütz's book : Daft Punk, Around the world

#VIDEO / The Green Hornet Making Of

2011-01-24T09:27:00.000-08:00

Enjoy !!!

#The Green Hornet is a hit !

2011-01-22T01:22:00.000-08:00

The Green Hornet cartonne aux Etats-Unis ! Quelques chiffres.

The Green Hornet est le plus gros succès de Michel Gondry aux Etats-Unis. The Green Hornet is the biggest success of Michel Gondry in USA.

Go to Box office mojo

#euh..CITATION ?

2011-01-20T14:36:00.000-08:00

"My goal was never to do movies for intellectuals," Gondry, 47, told AFP. "In fact, I have this complex that I have not read enough, so when people say I'm an intellectual director, I laugh. I'm not like that at all."
OK ?

#VIDEO / Promo en Corée du Sud

2011-01-20T14:29:00.000-08:00

#ITW / Michel Gondry about "The Green Hornet"

2011-01-20T05:40:00.000-08:00

#ITW / Michel Gondry et Le Voyage en Ballon

2011-01-20T03:55:00.000-08:00

Go to chicago timeout

The film that changed my life

Michel Gondry is French and his films are dreamlike, so it’s only natural that he’d choose a film that’s both dreamlike and French, 1960’s Le Voyage en Ballon/Stowaway in the Sky, as the most influential in his life. Gondry, who went from directing commercials and videos to features such as Eternal Sunshine of the Spotless Mind and The Green Hornet (out Friday 14), also shares a similar path with Le Voyage’s director, Albert Lamorisse, best known for his short The Red Balloon.

How would you describe Le Voyage en Ballon to someone who has never seen it?
It’s a story of a child and his grandfather—the guy is like an inventor—and they just travel about France in a hot-air balloon.
Tell me about the first time you saw this film.
I was probably eight or I would say even less—maybe five. It was on a Saturday afternoon, and I was in France at the time. Both my parents were working and there was a system where you would stay at school and do activities. That time of the year, we watched movies. They put a tent in the yard of the school and they screened 16mm prints.
How did it influence your life?
It’s the first film I remember. It’s the film I like to rewatch the best. When you’re young, you’re very receptive to all the stuff you see, the emotions. It may have changed my life because I’m always trying to re-create this feeling of watching this movie.
The director, Albert Lamorisse, was a helicopter operator, and he had invented stuff to shoot from. In this one, he had his son in a basket hanging under the real helicopter. It’s not like studio stuff. It’s really flying. It’s under the helicopter; it’s always super windy and they have to change the sound because when you travel in a balloon, you don’t have wind because you move with the wind. So it’s very quiet. They had to post-direct all the sound, but it’s dubbed very roughly—that gives it a very dreamy quality.
When you saw it, did you want to be the little kid in the film?
Of course, and I was dreaming of building my own balloon. I remember in Before Night Falls, they build this balloon and it gets torn and it’s really frustrating.
Charlie Kaufman wrote a script for Confessions of a Dangerous Mind, and in the script my favorite cut scene was: He wanted to escape over the Berlin Wall and he had this inflatable small plane and it was blue. That was my favorite moment in the script. Like a video I directed for a band called Willowz, for a song called “I Wonder.” In the video, a guy builds a car from trash. It’s very dreamlike to build a machine that’s not supposed to work, yet it works.
In the film, there’s a shot where they let a white shirt fall to the ground and it dances around. It reminded me of the plastic bag in American Beauty.
Oh yeah, that’s true. I know the director [Sam Mendes]. I think very likely it’s just a coincidence. You see those plastic bags flying in a minitornado. I don’t think you need to have seen this movie to get this idea. I will ask him, but I doubt so. This movie has not been seen so much.
You’re right. In fact, when it came to America it was renamed Stowaway in the Sky and narrated by Jack Lemmon. Who narrated the action in France?
The guy who was following on the ground with [a] car! His name was Maurice Baquet, and he was a figure from the ’60s. He was a musician and kind of a mime. He was an artist and part of a guild, and he was appearing in movies like that, a little bit surreal.
Lamorisse’s last film was The Lovers’ Wind. He died in a helicopter crash while filming it in Tehran in 1970.
He probably had that in the back of his head, flying all the time. The thing is: When you fly with the camera you don’t have any sense of danger because you’re focused on what you’re doing. Like when I did a video for Björk in the Icelandic landscape, [for her song] “Joga.” We had small planes and a helicopter, and I was hanging out of the helicopter.
Ordinarily, I would never do that. I’m really scared when I fly, and I had just a safety rope with a little hook. If I forgot to put the hook on, I would just be dead, basically. When I was shooting, I was never afraid of anything. But when the film would start to run out, I would realize, “Whoa! What’s happening here?” and panic. A lot of accidents occur like that because people are focused on what they have to do and they forget about safety.
There was a really horrible story about this guy who forgot to put on his parachute, and because everything was ready and he was thinking of the camera, he jumped with only the camera, so he died. You kind of become fearless, and despite all the un-trendiness of fear, it’s here for a reason: to keep us here, to keep us alive.
Directors often say, “Oh, I want to die on set.” Does that ever even occur to you?
I want to die as late as possible. I want the biggest drop of life I could have.
But would you prefer it to be on set or off set?
I would say on set. I would feel safer. There would be a lot of people trying to save my life. If I’m alone in my house and I’m dying, I would feel very lonely.
What was it like, seeing the film again recently?
It made me reconnect to the time I saw it first, which is rare because a lot of times you just see how naive you were. I’ve been dreaming of flying. When I watch this movie, I dream I’m flying and then I do stories where people are flying. I think it’s directly influencing.

#ITW / Podcast HIT FIX special guest Michel Gondry

2011-01-20T01:41:00.000-08:00

A écouter à partir de 1h00

Go to hit fix

#EXPO / L'usine des films amateurs

2011-01-20T01:14:00.000-08:00

Go to Centre pompidou

CENTRE POMPIDOU (PARIS, France)

16 février - 7 mars 2011
11h00 - 21h00

L'Usine de films amateurs vous invite à venir créer votre propre film, en suivant un protocole simple imaginé par Michel Gondry, dans un studio de cinéma reconstitué pour l'occasion.
À la manière de Jack Black et Mos Def dans le film de Michel Gondry, Soyez sympas, rembobinez, vous pouvez fabriquer un film de A à Z en un temps record (3h !).

Vous souhaitez participer ? Cette activité est proposée gratuitement à tous, nous vous recommandons de vous inscrire à l'avance, pour former ou rejoindre un groupe de 5 à 15 personnes.
Après une première visite des lieux et un passage par les accessoires, vous passerez à « l'action », depuis l'écriture du scénario et le choix des acteurs jusqu'au tournage et à la réalisation des effets spéciaux « bricolés » sur place !
Aucune formation n'est nécessaire, l'objectif est de se faire plaisir en fabriquant son propre film !
Un ensemble de décors et de machineries simulant à la fois des intérieurs et des extérieurs vous offrent la possibilité de tourner un nombre infini d'histoires. Tout le matériel nécessaire est mis à votre disposition pour que vous soyez autonomes.

Trois heures plus tard, vous repartez du studio avec un DVD de votre film !

Informations pratiques :
L'Usine de films amateurs est ouverte à partir du 17 février, tous les jours sauf le mardi, de 11h à 21h.

Retrouvez également l'ensemble des films de Michel Gondry, longs et court métrages, clips, pubs et inédits, ainsi qu'une carte blanche en 5 films, en sa présence, dans les salles de cinéma du Centre Pompidou, du 16 février au 13 mars 2011.

#VIDEO / Green Hornet - Kato Vision

2011-01-19T15:44:00.000-08:00

#ITW / ‘Green Hornet’ Director Michel Gondry Talks Hardships In Hollywood

2011-01-19T15:14:00.000-08:00

go to screenrant.com

Michel Gondry: I like your orange jacket.

Screen Rant: Thank you!

MG: Orange is an underrated color, it’s the second most underrated color after yellow.

SR: I think I must have said that very same thing (about orange), roughly 500 times. Speaking of numerical overindulgence, I have to tell you, I am such a fan of Eternal Sunshine of The Spotless Mind, I think I’ve seen it 31 times, so I have to ask – would you do another film with Charlie Kaufman?

MG: I asked him, and I think he felt [like] not right now – but definitely we are on good terms, and I like his work, and he likes my work. We are working now to sort of prove to people that we are capable on our own – which is not necessarily so obvious for some people. So, we keep trying and would love to work together again some day, there is no objection from either side.

Mr. Gondry needed to excuse himself in the early part of the day – in order to shoot a 3D introduction for a screening of The Green Hornet in Japan. He chose to direct the introduction himself because, according to Gondry, “the 3D people were too conservative.” He was looking for a “deeper” 3D experience than what they were initially creating. This brought us to the topic of 3D in The Green Hornet, which was mostly post-converted. As a filmmaker who mostly utilizes practical, in-camera, effects, I wondered how Gondry felt about the decision to screen the film in a format that was primarily created in post.

SR: How did you feel about the 3D in The Green Hornet? The film wasn’t entirely shot in 3D, so what was your take on the decision to post-convert?

MG: It’s something I wanted to do. I mean, I’m not saying that I didn’t want to shoot it to start with in 3D, but now I have done both – because we shot some scenes with a 3D system and some scenes in film on 2D, and converted [it] afterward. I think both are complimentary – because you cannot do everything you want with the 3D camera, it’s too big, and the digital quality of those cameras is a little bit limiting. With film, you have a lot more subtly, like with highlights and color. On video, if we took the orange of your jacket, it would be all one color, one orange, on film your going to see all the different oranges. In terms of sharpness they (both formats) are very close; but in terms of nuance, of color and contrast, film is far superior. So by doing the conversion you have both worlds. I think some people feel that if you are going to have 3D, then you have to shoot in 3D, but they shoot 3D, so of course they’re going to say ‘my way of doing a film is better.’ I’m not telling anyone how they should do their film, so why should anyone tell me how I should do mine?

SR: In terms of the expectations on how this film should be done, you were quoted as calling the fan base “fascistic.” What has your experience with the fans been?

MG: I think that the imagery of the superhero could remind me of this area in politics. The problem is that bad journalism led to shortcuts, and some journalists were very happy to have these words come out of my mouth – but I was just commenting on the imagery. The imagery of the super strong hero with people looking up at him, like a statue, which is something that I don’t recommend that people do. I’m sorry if people felt that I was judging them.

Gondry goes on to say that fans of The Green Hornet were judging the film before there were any images available, or any way to accurately assess the work itself – and that if “they decide the film is going to suck before they even see it, well then that’s their problem.”

SR: This was a bit of a departure for you. What was it about this project that attracted you? Were you wanting to do a big action movie?

MG: Well when I saw The Matrix and other movies of this type, I wished I had been given the opportunity to express myself with all this technology and do something sort of big in scale, but the right material never really came my way. Also in the ’90s movies were so serious, and so stylistic and slick that I could not identify with them. When Seth and Evan sent me the script for The Green Hornet I really liked that it was character driven, and it’s about these two guys who are bound because they hate the same person, which is Britt’s father/Kato’s boss, and because of this, they become accidental heroes. Britt talked about being a hero, but really they start out like bad boys, like kids, and I could identify with that.

In the film, Britt and Kato initially bond over a mutual love of coffee, and dislike of Britt’s recently deceased father — a desire to one-up the old man inspires the prank that sends them on their journey to become heroes.

SR: Do you think you’ll move directly into another large action movie?

MG: No, not right now. I worked so hard on this one and I started another smaller project on the side that I will have to finish now, but I’m going to hopefully go back and forth between different sized projects.

SR: What’s the smaller project that you’re working on?

MG: I’m doing a movie about kids going to and from school on the bus, and the dynamics that happen as there are fewer and fewer kids on the bus. You start with thirty and then see how intimate it gets when it is down to two. It’s not a documentary, it’s a narrative, but we are basing it on the people we are filming.

That film is currently shooting in the Bronx, New York.

SR: Other than the obvious financial reasons, what appeals to you about doing something like The Green Hornet vs. doing something more independent?

MG: Well, for instance, to know that your movie is going to be played on ten thousand screens at once is kind of crazy – and its going to be playing in 3D, which, I’ve loved 3D since I was a kid. I had a viewmaster, I could draw a woman in 3D by crossing my eyes – I would see some parts of their bodies popping out. So I love 3D a lot, I have a great interest in 3D, so if I am given the tools to do a project with 3D, it’s a dream for me. This, plus characters that I like is all I want. Now, it doesn’t make me want to do smaller movies or documentaries any less, because I think that they are all interesting. If I can find myself in all of those projects, which so far I do, then I’m fine. I like collaboration, I like to incorporate other people’s ideas [and] that’s what happens when you do a big movie. Unless you’re called Stanley Kubrick and you do an independent movie for like $200 million. I’m just thinking of 2001, which I think is the most expensive independent film ever made – which is great, someday I hope I will do one. But I know the parameters when I got onto this project – I have to take care of everyone, make sure that they are all on board, and this process interests me.

SR: Speaking of which, it seems that on a project this size, there are lots of cooks in the kitchen. What’s the most outlandish note that you received?

MG: ‘F*** you, that’s how we do things in Hollywood,’ from (producer) Neal Moritz.

SR: That’s incredible, what was it in reference to?

(Both laughing.)

MG: I know your going to isolate that…

SR: Absolutely I will, it’s hilarious!

MG: But it’s not representative of his behavior all the time. He said that, and we looked at him, and he looked around as if to say ‘Did I really just say that?’ and we all started laughing.

In our interview with Evan Goldberg, the writer mentioned that the team would often spend hours yelling at each other as a part of their creative process; we can only imagine that this statement came out of one of those ‘brainstorming meetings.’

MG:The most outrageous fan stuff was from this guy, who said that anyone who thinks I am a genius should look at my other movies like Be Kind Rewind, and they will run after me and give me a well-deserved beating [Gondry actually said a 'well deserved beat me up,' which is absolutely endearing, but we are fairly sure he meant beating]. So he wanted people to beat me up. So, that’s my impression of some sort of fanboy and how they respond to me. I am coming from a comic book background, I did comic books, but in France we don’t worship the comic book hero character, we worship the everyday character.

SR: If you could say one thing to those that have been negative about the 3D and other elements of the film, what would you say?

MG: I would say that the 3D is awesome, and we did it in a creative way. So, first of all, you should look for yourself before you make a judgment. Number 2, the director does not direct the trailer, so you can’t judge a movie based on the trailer, and number 3, you can’t judge a movie based on nothing. So I would recommend that people see the movie and then make a judgment. I think they will like it, this movie was made for them as well as other people, and I think that there are a lot of ingredients in this movie that would surprise them. We aren’t mocking, this is not a spoof on the genre, it’s a very serious comedy, there is comedy in life, and I think it’s a lie to show a life without any humor. So I want to show characters with all of their humanity. Even if their stories are extraordinary, those are normal people, and I think that is my take on the superhero movie. I’m sorry if people don’t want to see that, but I think if they give it a chance, they will like it.

SR: Was there anything that was a point of contention in the production that you had to fight for? You mentioned that Seth had to fight for the length of the opening sequence with Chudnofsky (Christoph Waltz).

Those who have seen the film likely remember the lengthy introduction to the Chudnofsky character in a Los Angeles night club – a scene that everyone involved in the production, other than Seth Rogen, felt needed trimming. Yet, when they tested the film, audiences had an overwhelmingly positive reaction to the exchange, and so the scene remained whole in the final cut.

MG: There were many scenes that we had differences of opinion on. At the end of the day we all liked what we decided, and we don’t even know who had what idea. The other day I heard Seth talking about how cutting the Black Beauty in half was his idea, and not only that but I was sort of against it. In fact, it was just the opposite. It was my idea and he was against it, but because we both like it now, we don’t know who came up with the idea. I think that’s how it works. With Charlie Kaufman it was the same thing – when we worked together, some ideas were from me but he didn’t remember and some ideas were from him and I didn’t remember. Memory is very subjective and selective, once you like something, you really don’t know which side you were fighting for.

#VIDEO / Michel Gondry Directs JKL Monologue

2011-01-19T15:07:00.000-08:00

Avant de parler en detail du bonhomme, plein feu sur l'actualité : The green hornet (en salle depuis le 12 Janvier) et sa promo

Bienvenue dans le désert de l'irréel

2006-11-05T08:24:00.000-08:00

Michel Gondry nous éblouit par son talent depuis plusieurs années. Créatif, ingénieux,romantique à souhait, il est celui qui transforme la platitude de notre société en des oeuvres à la fois intimes et universelles. Que ce soit à travers ses vidéos clips, ses publicités, ses courts ou long métrages, il nous rallie à sa folle envie de désordre et à son génie que l'on souhaiterait communicatif. Cette page est là pour en témoigner et pour precher l'actualité du français sur les toits du Web. Michel Gondry est bien celui qu'il faut suivre afin de s'ennivrer d'émotions pop et créatives.