Wednesday, July 28, 2010
Friday, July 2, 2010
90s Computer Games Educational Carnival
SYNOPSIS TRAILER IN SPANISH INTERVIEW WITH JEAN BECKER
is the story of one of those improbable meetings that can change a life. Found in a park Germain, more than fifty years and nearly illiterate, and Marguerite, a frail old woman with a passion for reading. Forty years and a hundred kilos between them. 
is the story of one of those improbable meetings that can change a life. Found in a park Germain, more than fifty years and nearly illiterate, and Marguerite, a frail old woman with a passion for reading. Forty years and a hundred kilos between them. By chance, Germain sits beside him. Marguerite began to read excerpts from novels, making him discover the magic of books, which are believed Germain excluded. Suddenly, for the people around you, for your friends for coffee, which until now has been taken for a fool, idiocy tilts and switch sides. But Margueritte be going blind and love for this adorable mischievous and caring grandmother, Germain will be strong and show him who is able to read when she no longer can.
Treasure Chest Wording
- How did you discover the novel by Marie-Sabine Roger and why she wanted to adapt it to the big screen?
- Someone in my confidence is devoted to research topics and made me discover the novel Afternoons with Marguerite, Marie-Sabine Roger. Nothing more to read, I was captivated. Then I drew the character of this good man unpolished, suffering with a lack of culture and could be dismissed as a simpleton, but not be for nothing. Thanks to a fortuitous meeting with an old lady scholar who will reveal the wealth of reading, evolves.
- Why nominated Jean-Loup Dabadie that adapt to you?
- long time we wanted to work together. I gave read Afternoons with Marguerite, he really liked. It was the perfect occasion.
- Do you like the writing process?
- For me, the highlights of the filmmaking process for writing and editing. The shooting is a distressing period because I have always the impression of being under the dash and I force myself to be as rigorous as possible so as not to get away from the written page.
- He has always been the same during the filming?
- It's nice to meet every day for six weeks in a row with gang members. But I'll be honest, it can be very boring always having to answer the same question: "What do we do?" I recognize that I am a hard man during filming. Cry a lot, but I know that every mistake me away from the goal: to be faithful to what is written. For me, every detail is essential. Just a little mistake to jeopardize a film. So prepare each scene in advance and avoid the failures. "
- When thought of Gérard Depardieu, with whom he had worked in Elisa, for the role of Chazes Germain?
- Next. Even before you start writing the script. Di's novel Marie-Sabine Roger Bertrand de Labbey, my friend and my agent. He suggested Depardieu's name and asked if I could give her the book. Gerard called me after three days and told me about the story and character for over an hour, much deeper. I think you know the book as well or even better than I, that explains the fluidity of interpretation. The deep love she felt for the story was to increase my desire to make the film. And then there's the joy that went into collecting with that old woman, a 95-year extraordinary actress, Gisèle Casadesus. After a screening, someone told me: "Those two were meant to be."
- I had directed in The fortune of living. Why proposed this new role?
- Despite a fragile appearance, Gisèle has lots of character, something that fit perfectly with the character. Do not think it necessary to speak of his talent.
- Let's talk about roles. Can you explain briefly what prompted him to choose the actors, beginning with Claire Maurier in the role of mother Chazes Germain?
- I saw on TV in an air is extinguished by Cédric Klapisch, and I immediately knew that Claire was able to play the role of the mother violent and peculiar.
- Maurane?
- Then took the role because I wanted to do, but was also afraid of not living up to. But he got into character quite naturally. Humanly, it is someone very special.
- Sophie Guillemin in the role of girlfriend Germain?
- It's a very natural performer. The couple formed with Germain is perfectly credible. It is true that the age difference between the two is great, but after all, she is the one who pampers. I have the impression that work well together on screen.
- Is it easy to find actors that correspond to their idea of \u200b\u200bthe characters?
- I rely heavily on selection of the casting director.
- How directs actors on the set?
- not directed at an actor. I hate that expression. I give them free rein. Occasionally we talk about a small misunderstanding.
- Tell me about the staging.
- I like to make a simple movie. My father would often say that a good staging is the staging that is not noticed. If you excel, to the detriment of the story because the viewer is set to something that is not essential. For me, the staging is to accompany the evolution of the characters during the course of the plot.
- All movies have one thing in common: they are nostalgic not regret the past. How get a result so sensitive?
- do not know. The subjects move me. Most come from novels. Others use the building for storytelling.
- It comes to see EVENING WITH MARGUERITTE completely moved, without the feeling of having given in to blackmail tear. What method used to achieve this result?
- No tears start looking for the public, though some claim otherwise, nor do I have pulled the strings of sentimentality. Just try to tell best what moves me and bring this emotion to the screen.
- Do you think that with every movie he learns to tell stories better that move him?
- course improved. No, just kidding. But it's true you learn something with every movie and I always try not to repeat my mistakes. Sometimes, experience is helpful ...
- Have you changed much in the editing room?
- I tried deleting the moments in which the viewer could anticipate the next scene. Never doubt the time to cut. It is more difficult in the early films that you do because you want to images. But a director should not fall in love with your images. I learned not to do and concentrate on rhythm.
- Why Laurent Voulzy asked to compose the music for the film?
- Very simple, and the answer is not original. I like his songs and melodies. At first I accepted because I thought that would not have time. But when I showed him the film, said yes. Then, everything went very quickly. After a month he sent a theme that we liked.
- Do you panic the premiere of his movie?
- It is said that once finished the assembly, the film does not belong to the principal. As far as I'm concerned, it is not true. I get involved all the way to the premiere. If it takes three years to make a film, a detail I do not want anything to ruin all our efforts on the home stretch, for the promotion of film. Then when the movie comes to the public, can work well, moderately or poorly.
- Someone in my confidence is devoted to research topics and made me discover the novel Afternoons with Marguerite, Marie-Sabine Roger. Nothing more to read, I was captivated. Then I drew the character of this good man unpolished, suffering with a lack of culture and could be dismissed as a simpleton, but not be for nothing. Thanks to a fortuitous meeting with an old lady scholar who will reveal the wealth of reading, evolves.
- Why nominated Jean-Loup Dabadie that adapt to you? - long time we wanted to work together. I gave read Afternoons with Marguerite, he really liked. It was the perfect occasion.
- Do you like the writing process?
- For me, the highlights of the filmmaking process for writing and editing. The shooting is a distressing period because I have always the impression of being under the dash and I force myself to be as rigorous as possible so as not to get away from the written page.
- He has always been the same during the filming?
- It's nice to meet every day for six weeks in a row with gang members. But I'll be honest, it can be very boring always having to answer the same question: "What do we do?" I recognize that I am a hard man during filming. Cry a lot, but I know that every mistake me away from the goal: to be faithful to what is written. For me, every detail is essential. Just a little mistake to jeopardize a film. So prepare each scene in advance and avoid the failures. "
- When thought of Gérard Depardieu, with whom he had worked in Elisa, for the role of Chazes Germain?
- Next. Even before you start writing the script. Di's novel Marie-Sabine Roger Bertrand de Labbey, my friend and my agent. He suggested Depardieu's name and asked if I could give her the book. Gerard called me after three days and told me about the story and character for over an hour, much deeper. I think you know the book as well or even better than I, that explains the fluidity of interpretation. The deep love she felt for the story was to increase my desire to make the film. And then there's the joy that went into collecting with that old woman, a 95-year extraordinary actress, Gisèle Casadesus. After a screening, someone told me: "Those two were meant to be."
- I had directed in The fortune of living. Why proposed this new role?
- Despite a fragile appearance, Gisèle has lots of character, something that fit perfectly with the character. Do not think it necessary to speak of his talent.
- Let's talk about roles. Can you explain briefly what prompted him to choose the actors, beginning with Claire Maurier in the role of mother Chazes Germain?
- I saw on TV in an air is extinguished by Cédric Klapisch, and I immediately knew that Claire was able to play the role of the mother violent and peculiar.
- Maurane?
- Then took the role because I wanted to do, but was also afraid of not living up to. But he got into character quite naturally. Humanly, it is someone very special.
- Sophie Guillemin in the role of girlfriend Germain?
- It's a very natural performer. The couple formed with Germain is perfectly credible. It is true that the age difference between the two is great, but after all, she is the one who pampers. I have the impression that work well together on screen.
- Is it easy to find actors that correspond to their idea of \u200b\u200bthe characters?
- I rely heavily on selection of the casting director.
- How directs actors on the set?
- not directed at an actor. I hate that expression. I give them free rein. Occasionally we talk about a small misunderstanding.
- Tell me about the staging.
- I like to make a simple movie. My father would often say that a good staging is the staging that is not noticed. If you excel, to the detriment of the story because the viewer is set to something that is not essential. For me, the staging is to accompany the evolution of the characters during the course of the plot.
- All movies have one thing in common: they are nostalgic not regret the past. How get a result so sensitive?
- do not know. The subjects move me. Most come from novels. Others use the building for storytelling.
- It comes to see EVENING WITH MARGUERITTE completely moved, without the feeling of having given in to blackmail tear. What method used to achieve this result?
- No tears start looking for the public, though some claim otherwise, nor do I have pulled the strings of sentimentality. Just try to tell best what moves me and bring this emotion to the screen.
- Do you think that with every movie he learns to tell stories better that move him?
- course improved. No, just kidding. But it's true you learn something with every movie and I always try not to repeat my mistakes. Sometimes, experience is helpful ...
- Have you changed much in the editing room?
- I tried deleting the moments in which the viewer could anticipate the next scene. Never doubt the time to cut. It is more difficult in the early films that you do because you want to images. But a director should not fall in love with your images. I learned not to do and concentrate on rhythm.
- Why Laurent Voulzy asked to compose the music for the film?
- Very simple, and the answer is not original. I like his songs and melodies. At first I accepted because I thought that would not have time. But when I showed him the film, said yes. Then, everything went very quickly. After a month he sent a theme that we liked.
- Do you panic the premiere of his movie?
- It is said that once finished the assembly, the film does not belong to the principal. As far as I'm concerned, it is not true. I get involved all the way to the premiere. If it takes three years to make a film, a detail I do not want anything to ruin all our efforts on the home stretch, for the promotion of film. Then when the movie comes to the public, can work well, moderately or poorly.
What Do You Look For In A Pub
interview with Gerard Depardieu
- I had worked with Jean Becker's Elisa, the mid-90's, but how long have you known?
- I have a feeling that since forever. Jean belongs to a cinematic tradition whose members have been, in a way, my parents. I mean actors like Jean Gabin, Bertrand Blier, Paul Meurisse, Pierre Brasseur, Michel Simon, authors such as Michel Audiard and his unique sense of replication, dialogue, language. All that is lost. It is no coincidence that Jean is one of the few filmmakers, Claude Chabrol, who conserve and make live the spirit belonging to a kind of popular cinema that is disappearing. Just look at his films, is interested in the details.
- Has it changed much since he shot Jean Becker Elisa?
- No, only more demanding. He does not trust himself. Jean is a pathological hiperemotivo. He wants the truth is evident in his films, not that film. Part of the filmmakers who do not always manage to make what they want to achieve. But they are artists, because art is not moved by words. It is similar to that found in wine or sculpture, you have to be a magician to get it. Can not be explained. Knew by heart the manual for perfect staging does not mean being a great filmmaker.
- How did working in EVENING WITH MARGUERITTE?
- Labbey Bertrand sent me the novel by Marie-Sabine Roger. As I read, I called to tell her that Jean had a knack for choosing great books. At the end of the day, to make movies, do not you just a wonderful story like this? I do not like the effects. And in the movies more and more effects. Jean is on the opposite side. Decided to adapt the novel that is simply moving in the noblest sense of the word. And just let go to play Chazes Germain.
- Speaking of Chazes Germain, how is the character?
- is not evil. Is complex, but not angry about anything. It is extremely positive, but that's not a simpleton. Germain I could have been in real life. It's like when I was 13 and decided to leave. I also watched it all, I noticed everything. I know, I know how much humor and love leads inside. There is more to see the relationship with her mother. Although she has not shown love, not condemnation. He loves a girl played by Sophie Guillemin. When together, the age difference disappears because it is a pure. Contrary to what many may believe, Germain is a character who fits perfectly in modern times. In my opinion, represents what is left to live if you flee from society that we offer. Germain, still believes in certain values \u200b\u200bin life, despite having been hit by everything.
- Since we know the path to Chazes Germain, was easy to interpret?
- Yes, as I've said before, enough to get carried away by situations and by text. When I act, I always try to be as close to what the viewer can watch and see. Do not know what else can bring to a situation described as a text. You should not compose, invent, if you do not want to fall into the format of both fled.
- Has been a pleasure working with Gisèle Casadesus?
- A tremendous pleasure because I became a spectator. It's amazing to see a woman her age to memorize a text and focus as she does, shows that is very valuable. But I was seduced by its incredible femininity, her coquetry, which I think the fruit of a beautiful life and love, hope or belief. Gisèle believe in birds, the beauty, sorrow and sadness in a world where many people lack the courage to face the storm of grief. When I work with her, I see everything, I feel its tremors. Ahead of her, I feel free. Freedom means not being afraid of anything, have the force of life itself. In As you begin to feel fear, it's over. I am not afraid of anything, let alone the existence, unlike many people who, as it ages, is surrounded by railings.
- Gisèle Casadesus is compared to a hurricane when it appears on the set before shooting a scene. Do you agree with that description?
- Yes, it's my nature. But just hearing the word "motor", I'm in the paper. Also, I can fall asleep in a chair rather than move, and work the same way. The scene is all that counts, no matter whichever is earlier.
- Still feeling the same pleasure as always when it comes to acting?
- Yes, of course. Especially since I do many things when they ring and a shoot is like a break. Although the film has changed, equipment, people remain the same. I know the U.S. filming with his huge amount of media and a host of assistants. But I grow heavy. There is no room for spontaneity. Actually, I'm like the character of late with MARGUERITTE: alive today. Last comes quickly, you do not get it. I eat constantly present, all that eludes us and we lived when we sleep, when we love, when we look ... Everything leaves traces in memory, pain, feelings, sounds, colors, smells, ... And the pain, these feelings, sounds, colors, I smell fuel. That explains why, before a shoot, I never think the character that the director interpret them except when I talk about it. And in this case, was to prepare the paper Chazes Germain, a man watching people and listening.
- I have a feeling that since forever. Jean belongs to a cinematic tradition whose members have been, in a way, my parents. I mean actors like Jean Gabin, Bertrand Blier, Paul Meurisse, Pierre Brasseur, Michel Simon, authors such as Michel Audiard and his unique sense of replication, dialogue, language. All that is lost. It is no coincidence that Jean is one of the few filmmakers, Claude Chabrol, who conserve and make live the spirit belonging to a kind of popular cinema that is disappearing. Just look at his films, is interested in the details.
- Has it changed much since he shot Jean Becker Elisa? - No, only more demanding. He does not trust himself. Jean is a pathological hiperemotivo. He wants the truth is evident in his films, not that film. Part of the filmmakers who do not always manage to make what they want to achieve. But they are artists, because art is not moved by words. It is similar to that found in wine or sculpture, you have to be a magician to get it. Can not be explained. Knew by heart the manual for perfect staging does not mean being a great filmmaker.
- How did working in EVENING WITH MARGUERITTE?
- Labbey Bertrand sent me the novel by Marie-Sabine Roger. As I read, I called to tell her that Jean had a knack for choosing great books. At the end of the day, to make movies, do not you just a wonderful story like this? I do not like the effects. And in the movies more and more effects. Jean is on the opposite side. Decided to adapt the novel that is simply moving in the noblest sense of the word. And just let go to play Chazes Germain.
- Speaking of Chazes Germain, how is the character?
- is not evil. Is complex, but not angry about anything. It is extremely positive, but that's not a simpleton. Germain I could have been in real life. It's like when I was 13 and decided to leave. I also watched it all, I noticed everything. I know, I know how much humor and love leads inside. There is more to see the relationship with her mother. Although she has not shown love, not condemnation. He loves a girl played by Sophie Guillemin. When together, the age difference disappears because it is a pure. Contrary to what many may believe, Germain is a character who fits perfectly in modern times. In my opinion, represents what is left to live if you flee from society that we offer. Germain, still believes in certain values \u200b\u200bin life, despite having been hit by everything.
- Since we know the path to Chazes Germain, was easy to interpret?
- Yes, as I've said before, enough to get carried away by situations and by text. When I act, I always try to be as close to what the viewer can watch and see. Do not know what else can bring to a situation described as a text. You should not compose, invent, if you do not want to fall into the format of both fled.
- Has been a pleasure working with Gisèle Casadesus?
- A tremendous pleasure because I became a spectator. It's amazing to see a woman her age to memorize a text and focus as she does, shows that is very valuable. But I was seduced by its incredible femininity, her coquetry, which I think the fruit of a beautiful life and love, hope or belief. Gisèle believe in birds, the beauty, sorrow and sadness in a world where many people lack the courage to face the storm of grief. When I work with her, I see everything, I feel its tremors. Ahead of her, I feel free. Freedom means not being afraid of anything, have the force of life itself. In As you begin to feel fear, it's over. I am not afraid of anything, let alone the existence, unlike many people who, as it ages, is surrounded by railings.
- Gisèle Casadesus is compared to a hurricane when it appears on the set before shooting a scene. Do you agree with that description?
- Yes, it's my nature. But just hearing the word "motor", I'm in the paper. Also, I can fall asleep in a chair rather than move, and work the same way. The scene is all that counts, no matter whichever is earlier.
- Still feeling the same pleasure as always when it comes to acting?
- Yes, of course. Especially since I do many things when they ring and a shoot is like a break. Although the film has changed, equipment, people remain the same. I know the U.S. filming with his huge amount of media and a host of assistants. But I grow heavy. There is no room for spontaneity. Actually, I'm like the character of late with MARGUERITTE: alive today. Last comes quickly, you do not get it. I eat constantly present, all that eludes us and we lived when we sleep, when we love, when we look ... Everything leaves traces in memory, pain, feelings, sounds, colors, smells, ... And the pain, these feelings, sounds, colors, I smell fuel. That explains why, before a shoot, I never think the character that the director interpret them except when I talk about it. And in this case, was to prepare the paper Chazes Germain, a man watching people and listening.
How To Pick American Lock Combination Lock
Gisele Casadesus INTERVIEW WITH SELECTED FILMOGRAPHY
- What are your memories of the fortunate, the first film shot with Jean Becker?
- An excellent and not so distant memory. It was a movie that struck many people and often speak of it. No wonder: it has a simple story but very human, often born of the best movies. And those that remain etched in the collective memory.
- How did this new collaboration with Jean Becker?
- Jean called me and sent me a book and thought of me for one of the papers. I enjoyed reading Afternoons with Margueritte, especially the language used by the author highway Marie-Sabine Roger. But the relationship full of tenderness between the old and played by Gérard Depardieu buenazo. Then I got the script, in which Jean followed the book to perfection while giving it a personal note: his love of nature, which is visible without being forced. I acknowledge that I do not live in nature. I am a Parisian-blooded and have always lived in the district XVIII. Although he knows nothing of the field, is the aspect that touched me.
- What do you like when working with Jean Becker?
- I returned to find the same goodness in the filming of The fortune of living. And also its efficiency: no time is wasted on a set with Jean. It is very nice because it asks, but does not impose. Do not fight with him, everything is natural and pleasant, and even more so because the character I play I was not at all strange.
- Margueritte How would you describe?
- perhaps due to the numerous travels, he feels a certain detachment from his surroundings. It is sensitive, but not whining. Despite its appearance, have much authority.
- Why do you feel affection for the character Chazes Germain?
- I am moved by the sincerity and naturalness of the man. Above all understand your desire to know more. Is someone unpolished, even boorish, but eager to learn what life has given him no.
- Was it difficult to become your character?
- Pierre Fresnay had a theory and I share with him: no one enters a character, the character must enter the actor. Although not known as many things as Marguerite, I had no trouble at all letting me penetrate her. I do not know if the result is convincing, but there was no difficulty in interpreting character.
- How did the scenes that set the pace of the film with Gérard Depardieu in the bank?
- First, I was delighted to meet Gerard. It was all very natural between us. Do not forget what could be his grandmother. If God permits, I will fulfill 96 years in June. Then, it is very pleasant to work with a great professional. I had fun with him during the preparation of the plan, gestures, laughs, speaks volumes.
- Still getting nervous when he plays?
- In the theater I have fear to tread upon the stage. In a set too, but different. We are in the hands of art director and we are not solely responsible for the work. To surrender completely, very reassuring to work with a director as good as Jean. I know enough to listen and try to follow his instructions.
- An excellent and not so distant memory. It was a movie that struck many people and often speak of it. No wonder: it has a simple story but very human, often born of the best movies. And those that remain etched in the collective memory.
- How did this new collaboration with Jean Becker? - Jean called me and sent me a book and thought of me for one of the papers. I enjoyed reading Afternoons with Margueritte, especially the language used by the author highway Marie-Sabine Roger. But the relationship full of tenderness between the old and played by Gérard Depardieu buenazo. Then I got the script, in which Jean followed the book to perfection while giving it a personal note: his love of nature, which is visible without being forced. I acknowledge that I do not live in nature. I am a Parisian-blooded and have always lived in the district XVIII. Although he knows nothing of the field, is the aspect that touched me.
- What do you like when working with Jean Becker?
- I returned to find the same goodness in the filming of The fortune of living. And also its efficiency: no time is wasted on a set with Jean. It is very nice because it asks, but does not impose. Do not fight with him, everything is natural and pleasant, and even more so because the character I play I was not at all strange.
- Margueritte How would you describe?
- perhaps due to the numerous travels, he feels a certain detachment from his surroundings. It is sensitive, but not whining. Despite its appearance, have much authority.
- Why do you feel affection for the character Chazes Germain?
- I am moved by the sincerity and naturalness of the man. Above all understand your desire to know more. Is someone unpolished, even boorish, but eager to learn what life has given him no.
- Was it difficult to become your character?
- Pierre Fresnay had a theory and I share with him: no one enters a character, the character must enter the actor. Although not known as many things as Marguerite, I had no trouble at all letting me penetrate her. I do not know if the result is convincing, but there was no difficulty in interpreting character.
- How did the scenes that set the pace of the film with Gérard Depardieu in the bank?
- First, I was delighted to meet Gerard. It was all very natural between us. Do not forget what could be his grandmother. If God permits, I will fulfill 96 years in June. Then, it is very pleasant to work with a great professional. I had fun with him during the preparation of the plan, gestures, laughs, speaks volumes.
- Still getting nervous when he plays?
- In the theater I have fear to tread upon the stage. In a set too, but different. We are in the hands of art director and we are not solely responsible for the work. To surrender completely, very reassuring to work with a director as good as Jean. I know enough to listen and try to follow his instructions.
Antibiotics Fro Mucous Congestion
EVENING WITH MARGUERITTE 2010 2008 2006
Love Me CONVERSATIONS WITH MY GARDENER
2003 MEMORY GARDENS
2000 A CRIME IN PARADISE 1998
fortunate to live
1995 ELISA ( César for Best Music)
1983 SUMMER MURDERER (César for Best Actress, Best Supporting Actress and Best Editing)
HOOLIGAN
1964 1967 SWEET ESCAPE LIBRE A
1961 OF LA Rocca
How To Make A Platypus
Gerard Depardieu
2010 TARDIS CON MARGARITA, Jean Becker
vases, François Ozon
Mammuth 2009, Benoit Delepine Gustave Kervern there
2008 BELLAMY, Claude Chabrol
ORIGINALLY, Xavier Giannoli
2007 Mesrine: L'Instinct de mort, Jean-Francois Richet
BABILONIA 2006 AD, Mathieu Kassovitz ASTERIX EN LOS JUEGOS
Olímpicos, Frederick Thomas Langmann Forrestier y LA VIDA EN ROSA
, Olivier Dahan
2005 SINGER, Xavier Giannoli
2004 OTROS TIMES, André Téchiné
outstanding issues, Olivier Marchal
2003 TO SHUT UP! By Francis Veber
2001 coming out, from Francis Veber
2000 Asterix & Obelix: Mission Cleopatra, by Claude Zidi
BETWEEN PONT A DEUX RIVES , Gérard Depardieu and Frederic Auburtin GARÇU
1995 LE, Maurice Pialat ELISA
1994, by Jean Becker 1992
Germinal, Claude Berri
1991 ALL THE MORNINGS OF THE WORLD, by Alain Corneau
1990 MARRIAGE OF CONVENIENCE, Peter Weir
1989 Cyrano de Bergerac, Jean-Paul Rappeneau
1988 TROP BELLE POUR TOI, Bertrand Blier
Drôle d'endroit pour une rencontre, François Dupeyron
1987 Camille Claudel by Bruno Nuytten
1986 UNDER THE SUN OF SATAN, by Maurice Pialat
SOIRÉE tenuous, 1985
Bertrand Blier Jean de Florette by Claude Berri
1984 POLICE by Maurice Pialat
1983 FORT Saganne of Alain Corneau
THE COMRADES, by Francis Veber
WOMAN NEXT DOOR, by François Truffaut
DANTON, by Andrzej Wajda
JE VOUS AIME 1980, Claude Berri
THE LAST METRO, LouLou
François Truffaut, Maurice Pialat
1973 THE ROMPEPELOTAS, Bertrand Blier 
2010 TARDIS CON MARGARITA, Jean Becker vases, François Ozon
Mammuth 2009, Benoit Delepine Gustave Kervern there
2008 BELLAMY, Claude Chabrol
ORIGINALLY, Xavier Giannoli
2007 Mesrine: L'Instinct de mort, Jean-Francois Richet
BABILONIA 2006 AD, Mathieu Kassovitz ASTERIX EN LOS JUEGOS
Olímpicos, Frederick Thomas Langmann Forrestier y LA VIDA EN ROSA
, Olivier Dahan
2005 SINGER, Xavier Giannoli
2004 OTROS TIMES, André Téchiné
outstanding issues, Olivier Marchal
2003 TO SHUT UP! By Francis Veber
2001 coming out, from Francis Veber
2000 Asterix & Obelix: Mission Cleopatra, by Claude Zidi
BETWEEN PONT A DEUX RIVES , Gérard Depardieu and Frederic Auburtin GARÇU
1995 LE, Maurice Pialat ELISA
1994, by Jean Becker 1992
Germinal, Claude Berri
1991 ALL THE MORNINGS OF THE WORLD, by Alain Corneau
1990 MARRIAGE OF CONVENIENCE, Peter Weir
1989 Cyrano de Bergerac, Jean-Paul Rappeneau
1988 TROP BELLE POUR TOI, Bertrand Blier
Drôle d'endroit pour une rencontre, François Dupeyron
1987 Camille Claudel by Bruno Nuytten
1986 UNDER THE SUN OF SATAN, by Maurice Pialat
SOIRÉE tenuous, 1985
Bertrand Blier Jean de Florette by Claude Berri
1984 POLICE by Maurice Pialat
1983 FORT Saganne of Alain Corneau
THE COMRADES, by Francis Veber
WOMAN NEXT DOOR, by François Truffaut
DANTON, by Andrzej Wajda
JE VOUS AIME 1980, Claude Berri
THE LAST METRO, LouLou
François Truffaut, Maurice Pialat
1973 THE ROMPEPELOTAS, Bertrand Blier
Light Crude Live Price Chart
GISELE SELECTED FILMOGRAPHY Casadesus
2010 EVENING WITH MARGUERITTE, Jean Becker Amours
2009 CES LA Claude Lelouch
erizo EL 2008, Mona Achache
2006 THE GRAND APARTMENT, Pascal Thomas
2005 THE WALKER FIELD OF MARS, Robert Guédiguian
OBRAS EN CASA, Brigitte Rouan
¡PALACIO REAL!, Valerie Lemercier
2000 LE BOUQUET, Jeanne Labrune
1999 OUCH, Sophie Dies
LA FORTUNA DE VIVIR 1998, Jean Becker
1992 RIDE YOUTH, Jacques Fansten
1990 MEN, WOMEN, MANUAL, by Claude Lelouch 1973
VERDICT, André Cayatte
DUGUESCLIN 1949, Pierre Billon
1948 BETWEEN ELEVEN HOURS AND MIDNIGHT, Henry Decoin
1947 NO THROUGH ROAD, Jean Stelli
1946 CASANOVA, Jean Boyer
1944 Palem, Pierre de Herain
1943 Vautrin, Pierre Billon
1942 SEEDS TO THE WIND, Mauritius Gleize
THE ADVENTURER 1934, Marcel L'Herbier 
2010 EVENING WITH MARGUERITTE, Jean Becker Amours 2009 CES LA Claude Lelouch
erizo EL 2008, Mona Achache
2006 THE GRAND APARTMENT, Pascal Thomas
2005 THE WALKER FIELD OF MARS, Robert Guédiguian
OBRAS EN CASA, Brigitte Rouan
¡PALACIO REAL!, Valerie Lemercier
2000 LE BOUQUET, Jeanne Labrune
1999 OUCH, Sophie Dies
LA FORTUNA DE VIVIR 1998, Jean Becker
1992 RIDE YOUTH, Jacques Fansten
1990 MEN, WOMEN, MANUAL, by Claude Lelouch 1973
VERDICT, André Cayatte
DUGUESCLIN 1949, Pierre Billon
1948 BETWEEN ELEVEN HOURS AND MIDNIGHT, Henry Decoin
1947 NO THROUGH ROAD, Jean Stelli
1946 CASANOVA, Jean Boyer
1944 Palem, Pierre de Herain
1943 Vautrin, Pierre Billon
1942 SEEDS TO THE WIND, Mauritius Gleize
THE ADVENTURER 1934, Marcel L'Herbier
Pork Causes Rheumatism
Germain GERARD DEPARDIEU
Margueritte Gisele Casadesus
Gardini François-Xavier Demaison
Francine MAURANE
Landremont PATRICK Bouchitey
Jojo JEAN-FRANCOIS STEVENIN
La madre CLAIRE MAURIER
Annette SOPHIE GUILLEMIN
Director JEAN BECKER guionista Jean-Loup Dabadie - JEAN BECKER
Dialogues
Jean-Loup Dabadie Based on the novel by Marie-Sabine Roger
Producer LOUIS BECKER ARTHUR
Photography Cloquet
Music Sound Laurent Voulzy
JACQUES PIBAROT - INCENTIVES MONTROBERT - François Groult
Sceneries THÉRÈSE RIPAUD
Mount JACQUES WITT
Costume ANNIE cast PERIER BERTAUX
SYLVIA ALLEGRE
ICE3 production company - KJB Production Co
StudioCanal - France 3 Cinéma - DD
Productions
Duration 82 '
Country France Language French
Do I Need A Fan In The Kitchen
CAST AND CREW TOLD THE PRESS
METRO Recalls the field in summer and warm feelings. A beautiful film that feels good.
20 MINUTES story of a friendship.
EXCESSIF
From the beginning, EVENING WITH MARGUERITTE offers a moment of pure relaxation where simplicity, the interpretation and understanding bind significantly. PARIS MATCH
A comedy about the love of words and reading. 
METRO Recalls the field in summer and warm feelings. A beautiful film that feels good.
20 MINUTES story of a friendship.
EXCESSIF
From the beginning, EVENING WITH MARGUERITTE offers a moment of pure relaxation where simplicity, the interpretation and understanding bind significantly. PARIS MATCH
A comedy about the love of words and reading.
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