I have a very bad memory for bad things, but for the good stuff, anecdotes and funny stories, I am very good. If you saw “Amélie” you know I am very good at remembering things. It’s like when you eat candies, you cannot stop. If someone reading your article is interested for it in the U.S., my brother, the publisher, would be very happy. You also published a book of anecdotes in 2018 from the making of “Amélie.” If I had proposed a serious documentary about “Amélie,” they would want to produce it. It was going to be cheap to make but they said it’s risky. It would have been so funny because I wanted to make fun of myself in it. He had 82 motors inside to move.Ī few years ago you said that you were thinking of making a documentary about the making of “Amélie.” Is that still happening?Īnother disappointment because nobody wanted to produce it. But yes, it was such a pleasure to imagine the robots, especially Einstein. I was waiting for money for “Bigbug” and nobody wanted to produce it. Two years ago, a beautiful exhibition of props from our movies in Paris and in Lyon had 180,000 admissions. I don’t know if it’ll be possible with Netflix. I love to imagine these objects because I get to keep them.
“Bigbug” has a lot of robots that were physically built. Your films often feature mechanical gadgets. He wanted to do that with “Amélie” as well, but he couldn’t because it was such a success. I said, “I won’t change one frame.” So he punished me like he punished everybody. I will ask the framer to put some blue instead.” I refused. He told me, “We will do something better than with ‘Amélie.’ I promise.” But when after some test screenings he was like a gallery owner saying to the painter, “We’re going to modify the green because in U.S. Ĭan you elaborate on what happened with Harvey Weinstein on that film?
Of course he wanted to re-edit, but now it’s fun to imagine him in jail. I remember it took a long time to be released in the U.S. Yes, it played in a couple theaters in 3-D in 2015.
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