Guillaume Canet with his wife and son. French actress Marion Cotillard gave birth to a daughter

Today, the name of French actor Guillaume Canet is known to film fans who closely follow the development and innovations of Western cinema. It is noteworthy that Guillaume himself did not dream of becoming an artist at all, but came into it thanks to an accident.

Guillaume Canet was born in the spring of 1973 in a small town in the suburbs of Paris. But the future actor grew up not in Boulogne-Billancourt, but in the countryside, on a horse farm. The boy's father was in this business. WITH early years My son also became addicted to horses. He was an excellent horseman, loved animals and was planning to become a horse breeder. Young Cane considered another option for his own future: to try his hand at becoming a jockey.

But the plans collapsed at one moment when Guillaume fell from his horse. Fortunately, the injury did not make the guy disabled, but he could not be a professional rider. For a while, Cane plunged into depression.

One day, Guillaume Canet heard that boys and girls of the age of a young man were being recruited for acting courses. He tried his hand. Soon Kane noticed that the new activity absorbed him so much that the guy forgot about his previous unrealized dreams related to horses.

After completing the initial courses, Guillaume Canet decided to thoroughly prepare for the profession of an actor. Future star They accepted the famous mentor François Florent into the workshop, under whose guidance he took his first successful steps in the profession.

Movies

The creative biography of Guillaume Canet began on the theater stage. The young artist appeared on stage for the first time youth theater"Eberto." He was trusted to play romantic young men, lovers and naive, inexperienced in amorous affairs. This role was assigned to Cane on theater stage and in cinema. It brought the aspiring actor his first fame.

Guillaume Canet made his film debut in 1995. He was offered a role in the short film “The Only Son.” Then he starred in several more films before the long-awaited star role. Viewers discovered Cane in the thriller “Barracuda.” A year later, the film “Into the Heart” was released, which thoroughly established Guillaume on the cinema Olympus and brought him great success.

In 2000, a film was released that instantly became a cult classic. This is Danny Boyle's painting "The Beach". Guillaume Canet appeared on the set together with the masters of Hollywood: and the inimitable.

In the same year, viewers saw Guillaume in the drama “Loyalty” with.

Success followed success. In the same year, viewers watched the premiere of the acclaimed detective film Vidocq. Canet's hero is a young journalist who investigated the causes of the death of the famous detective Vidocq. I played the last one. The film was a huge success with audiences and critics.

It is noteworthy that in 2002 Guillaume Canet became cramped within the framework of only acting profession. He decided to try his hand at directing. The debut film was “My Idol”. He received a warm welcome. And fame came to director Kana 4 years later, when he shot his next project, “Don’t Tell Anyone.” For this work, Guillaume received several awards, among which the largest and most prestigious was the Cesar.

The next film in which the artist starred was “Love Me If You Dare.” The film was celebrated at the Newport Beach Film Festival.

IN last decade is developing successfully actor career talented Frenchman. Most famous works Guillaume played roles in the films “Just Together,” “Last Night in New York,” “Right to Left,” and “The Man Who Was Loved Too Much.”

As a director, Kane presented the film “Blood Ties” to viewers and film critics in 2008, in which she starred.

Personal life

The popularity of the actor and director was brought not only by his screen works, but also by his novels. The personal life of Guillaume Canet was often discussed in the press. The artist's first wife was a German star. But the actors lived together for only 5 years and broke up in 2006.

The reason for the gap was a discrepancy in creative path. The married couple was constantly separated and saw each other only once a month.

The discussion of divorce stopped immediately when new food for conversation appeared: Guillaume had a... new novel with an equally famous person - French actress Marion Cotillard. The couple met on the set of the melodrama “Love Me If You Dare.” Then he was married, and the actress was going through difficult times, and the relationship between the artists was exclusively friendly.

After filming, Guillaume and Marion parted ways, but they continued to communicate.

When the actor divorced Diana, he had affairs with Louise Bourgoin and Elodie Navarre.

Today Canet and Cotillard live in a de facto marriage. In 2011, they had their first child, Marcel. In 2010, Guillaume gave his beloved a ring, but the couple has not yet legalized the relationship.

In March 2017, Marion, who was named Louise. Shortly before this, the uproar around the divorce did not subside, in which journalists implicated Cotillard. There were rumors that it was the Hollywood sex symbol who left for her. And all because Pitt and Marion Cotillard starred together in the film Allied, where they played a married couple.

As a result, the actress rejected the speculation and announced that she was expecting a child from Cane, and Guillaume did not doubt the woman he loved for a second. He even published a post in " Instagram", where he urged people to strive for the best, and not to throw mud at others.

Like many artists, the actor maintains an officially verified Instagram. He shares personal photos, stills and clips from films with thousands of fans. In addition, he posts recordings in the official “

Looking at this charming girl with shining eyes, it’s hard to believe that she experienced terrible grief in her life. She withdrew into herself, in her despair and longing for her loved one, and did not even think that someone would appear in her destiny who could save her.

She rode to world fame in Luc Besson's Taxi: the image of Lily Bertino was so charming that no one doubted her stellar future. And now, when Marion Cotillard celebrates her next birthday (on September 30, the winner of an Oscar, several Golden Globes and Césars turned 43 years old), she, as before, captivates us with her sweet smile, without aging at all. By the way, once in one of the interviews the famous Frenchwoman boldly admits that she is not at all afraid of that moment in life when venerable age comes, replacing youth.

The role that made Marion a star

Today Marion can rightfully say about herself that she has acquired everything in life that every woman wants. Family, beloved husband, two children, a spacious apartment overlooking the ocean - and amazing peace of mind, bordering on idyll. “In fact, I can only live by love” – these words of the star actress probably contain a special meaning. She has always been and remains a true Frenchwoman: a sensual, charming woman, capable of giving the chosen one of her heart unforgettable happiness. This sacrifice, dedication and kindness of soul will one day play a fatal role in Marion’s fate.

A meeting with the French actor Julien Rassam even before filming the film “Taxi” turned Marion Cotillard’s life upside down. He became her first love, in which she almost burned to the ground. Julien was handsome, talented and smart. For the sake of his beloved girl, he used high connections in the world of cinema (fortunately, his family consisted entirely of famous directors and screenwriters) so that Marion could find a worthy place for herself here. Julien was sure that Cotillard had extraordinary acting abilities. The praise of her loved one flattered the girl; she began to trust him more and more. And she could no longer imagine her existence without Julien, she was ready for any sacrifice. That time, unfortunately for Marion, soon arrived. The cloudless paradise of two souls in love, where nothing boded ill, was soon completely destroyed. And Julien Rassam himself threw the first stone into this house of romantic well-being. His addiction to illegal drugs paved the way for his downfall. In the literal and figurative sense of the word.

Tragic dead lover Julien Rassam

The death of Julien's mother had a detrimental effect on his psyche and moral state. He drove himself into a corner with manic persistence. Neither Marion's love, nor her suffering and careful attempts to help had any effect on Julien. In 2000, a fall from a high-rise window left him completely disabled. Caring for her beloved and shedding tears, Marion hoped that someday her man would overcome his nightmare. But even in wheelchair Julien was haunted by the thought of committing suicide, and as if an evil spirit was pulling him into the pool of death. In the end, two years later, he repeated his act to die forever.

With husband and father of daughter and son Guillaume Canet

CINEMA PRESTIGE

Is

MARION COTILLARD and GUILLAUME CANET

in comedy

"FOREVER YOUNG"
"Rock'n Roll"

France, 2017, comedy, 123 min.

“This film is pure pleasure. Enjoy!"

Cinephile

“A wonderful self-ironic story. Cane laughs at himself and his own wife

Marion Cotillard, and he does it with such wild drive!”

frenchcinemareview.com

Comedy starring the leading French actress recent years– Marion Cotillard (“Allies”, “Assassin’s Creed”), another brilliant directorial work by her husband Guillaume Canet (“Don’t Tell No One”, “Blood Ties”). The remaining roles are also entirely stars: Gilles Lellouche (“French Transit”), Ben Foster (“Warcraft”), Yvan Attal (“The Elusive”) and the legendary Johnny Hallyday. Fees in French box office– about $9 million.

Guillaume and Marion and in the film - acting married couple with experience. Marion is a star, a beauty. She is always busy, she has one contract after another, she doesn’t even have time to fulfill marital duties - she needs to cram new role. Well, it doesn’t work out at home - Guillaume decides to hit on his young partner in the series. But even here it’s a bummer - the aspiring actress says that he “is no longer rock and roll”, that on her list of potential lovers he is given first place from the bottom and that “they don’t live that long.” Guillaume understands: something urgently needs to be changed...

Marion Cotillard and Guillaume Canet: STOP BELIEVE WHAT THEY TELL YOU!

(magazine interview Madame Figaro )

In the film “Everything Will Be Rock and Roll” you debunk the myth of the glamorous couple from French cinema. Why are you playing with your image?

Guillaume Canet: Once a young journalist noticed that my life is not sexy and not “rocker” (like that of young people), because I am forty and have been living with the same woman for many years. This gave me the idea to make a comedy where such a simple phrase leads a person to a deep existential crisis. In the film I touch on those neuroses that we all cultivate in ourselves: the fear of aging, the desire to be seen as “different”, the need for recognition...

Marion Cotillard: When Guillaume told me about his idea, I thought there was material for some very funny scenes. And, of course, a reason to reflect on the image. But most importantly, I was happy that Guillaume found a story that brought him back behind the camera. He is truly a great director. His previous film, Blood Ties, which I adore, was panned. The opportunity to see him in action again excited me.

G.K.: After “Blood Ties,” I had a period of doubt. I took a break for a year, changing my focus: racing, family, friends. Gradually the feeling of pleasure from cinema returned. It was easy for me to work on this film with my loved ones - my agent, producer, friends and, of course, my wife. I had heard so many incredible things about Marion and myself that I wanted to play with our images, with the way people perceive us.

Are you offended by this prevailing – erroneous – image?

G.K.: I regularly read absurd news about us. For example, that Marion lives in Los Angeles. People think that we live somehow differently. But we, just like them, go shopping, cook, take our son to school. In the film, I wanted to start by showing the truth, and then make a caricature of it with the message: “Stop believing what they tell you!”

G.K.: I pay little attention to how people portray me. But I get annoyed when some people portray Marion as a sexually obsessed girl...

M.K.: What I could be! But no! ( laughs)

G.K.: I wanted to show Marion as I know her - with character, funny and crazy. The film is proof of this because no international star like she is would agree to such a crazy scenario. She has an exceptional sense of self-irony.

How do you deal with media pressure?

G.K.: Now is the time for hype, regardless of whether there is any meaning, depth or even an ounce of truth in it. I used to take everything very personally. On our son's birthday, for example, I was furious because one of the paparazzi burst through the door, causing us to miss this wonderful moment. Over time, we have learned to better protect ourselves from anything toxic. Today from mobile phone everyone can become a paparazzi. Someone wants to come in? Let them come. That's the whole idea of ​​my film. Open the door for them, play with their fantasies and get away from this nonsense.

Your comedy is also about the cult of youth. Is it really that destructive for actors and actresses?

G.K.: We live in strange world who doesn't want to see himself as old. Appearance comes first now. IN in social networks you need to create your own perfect image is a cult of personality. Everything is artificial. The fear of aging is very present in our business. Many actors and actresses, especially in the United States, do not resist the pursuit of absolute beauty. In the end, they all become similar to each other - without age and without expressiveness. This scares me more than old age!

Does the number of roles decrease with age?

M.K.: I think this is much more difficult for actresses. In women, age is equated with a disease, although we are talking about a person’s maturity. In the USA, in blockbusters, we don’t see heroines 40-45 years old... But let’s be optimistic! Still, there are screenwriters who write strong roles for women over 40. Situations are different.

There are some hilarious scenes in the film, especially when Marion Cotillard learns the role in Quebecois.

G.K.: This is my little revenge ( laughs). Over the nine years that we have been together, I have repeatedly tried to get used to difficult roles - in the film I call them roles “with an accent” or “with difficulties.” Marion didn't have to do anything except watch my character's delirium, and the accent allowed her to get used to the comic role.

M.K.: I prefer roles that are far from me, in which everything is constructed. The movement towards them comes gradually - it’s like a way to start breathing. I want to put my body and soul into the role. The process fascinates me, and it is not always easy to combine this state with my personal life. In the film, of course, Guillaume went too far.

How do you see each other?

G.K.: I truly admire Marion, which fuels my love for her. I respect her talent, her genius as an actress who knows how to convey all the emotions with an amazing understanding of the text. I love her both as an actress and as the woman she has become - calm, confident. I also love the way she raises our son. I think she did some serious work on me too ( laughs) I have changed a lot since we were together.

M.K.: I happen to live with a person who changes miraculously. It's inspiring. He pulls me to the top, helps, accepts and enriches me. We actresses have a developed ego that can subtly take over completely. Guillaume prevents me from turning into a “monster”. He is kind and has a heart to make his family and friends happy.

What is the strength of your strong relationships?

M.K.: We met 14 years ago, first became friends and only then became a couple. This is our strength. We always have fun together. We are partners in the true sense of the word. He is my friend and man.

Your second child will be born soon. What's your mood now?

M.K.: I'm looking forward to this moment. During pregnancy I had to act in five films. It's time to do something different!

Madame Figaro, February 2017

translation – Marfa Veselova

GUILLAUME CANET: And you didn’t know that Marion is stubborn and talkative...

How did the idea for this film come about?

Several years ago, I was already thinking about making a film about celebrities and the public's attitude towards them - a kind of documentary about how the real lives of stars have nothing in common with what their fans imagine. The story was like this - we seem to be following a guy who knows that he is being filmed, but periodically asks that the camera be turned off. And the idea is that you don’t have to believe what people tell you, you don’t have to see only what you want to see. There are thousands of different things hiding behind this, not necessarily good, maybe bad, but definitely not what you think.

I had already written a few scenes, but then Casey Affleck's film I'm Still Here came out with Joaquin Phoenix. This was the mockumentary I was going to make, so I had to give up my own idea.

What made you come back to her now?

Two years ago, during an interview, one journalist suddenly began to say things about me that I did not understand. “This is all your image that you created for the public,” she insisted. And the desire to play with my own image returned. I came up with a film in which I would play myself, showing that I am not the same as the audience knows me, which will make them think that I am the real one here. I called two of my accomplices, Philippe Lefebvre, with whom I wrote the scripts for the films As You Say and Don't Tell Nobody, and Rodolphe Loga, who worked as a Steadicam operator on almost all of my films. And we started working.

But in the end the film is not very similar to what you say...

I wanted it to be a comedy, but with meaning. For example, she touched on the problem of total ageism. It surprises me, for example, that some 60-70 year old women, especially American women, do not have a single wrinkle. That men get Botox injections and constantly visit the solarium. This led to the idea of ​​making a film about a guy who, at the age of forty,

I realized that I was getting old. He worries that he is no longer “rock and roll.” And I especially wanted to talk about this because it is men who are experiencing this.

In the film you are very impartial to yourself. And Marion too.

Marion and I's public image does not always correspond to our real one. She has a cute image kind woman, which she certainly is. But people will be surprised to know that

She still lives life to the fullest, can be stubborn and talkative. I don't have the words to express my gratitude to her for her willingness to laugh at herself like that. Without her, this project would not have happened. I don't care much about my own image. Although, of course, my protection privacy worries. Being famous does not mean telling everything about yourself. You have to keep something secret from the public. An element of mystery is required! Especially for actors. With this film I seem to be saying: do you want to know all my ins and outs? Please! I'll show you everything - my friends, my agent, my mother, myself in bed with Marion... I wanted to play with our images and fame - to pretend that I had opened our door. If we listen to all sorts of stupid things about us, why not make them up ourselves? Thus, the intended documentary turned into a complete fabrication.

How can you write such an unusual script?

Don't slow yourself down. Philippe Lefebvre, Rodolphe Logat and I did just that. It’s easy to laugh at yourself – I can do it. It’s more difficult when your co-authors come up with ideas that are not very flattering for you. But I'm used to it. I even enjoyed it. Home storyline- “the guy wants to be a rock and roller, although he never was one in his youth” - they came up with it quickly. This music is very catchy, although personally I prefer Demis Roussos and Aphrodite’s Child. My friends often quarrel with me because of this.

There are many hilarious scenes in the film - where you are called Monsieur Cotillard, the cuckoo clock chimes in your house, Marion masters the Quebec dialect...

Over the nine years of our marriage, I several times found myself in absolutely surreal situations when she was completely immersed in her new heroine. When we wrote the script, she was preparing to star in a film by Xavier Dolan. And we thought: it would be funny to reduce her work on the role to mastering the Quebec accent. Because in fact, Marion often plays complex characters, and she is a real hard worker. Of course, there are real facts in the film - my musical tastes, Marion's passion for organic food. Anyone who knows us even a little won’t be surprised to see a vegetable garden in the middle of the living room in the film.

How did you get Johnny Hallyday?

We thought: since our hero wants to be a rock and roller, why not send him to the French king of rock and roll? Johnny Hallyday will explain to him that time rock and roll ended, and now no one destroys furniture in hotels. I had crossed paths with Holliday several times before, but we barely knew each other. I was shocked that he agreed to play the role, especially such a self-ironic one. Holliday is rock and roll.

From where your hero goes to plastic surgeon, the film has a touch of “black” comedy...

One night I woke up in a cold sweat - I dreamed that I had Botoxed lips. The next day I told Philippe and Rodolphe: Guillaume’s problem is not that he is not “rock and roll”, but that he is afraid of aging. This is an obsession of many people who strictly control their image. But “small adjustments” on the face easily develop into addiction.

However, does this addiction make your hero happy?

Yes, it seems to him as if he was born again. He's young again and back in the game! And he's so touching. It's scary to think how far this rejuvenation will take him. And it's scary to think that his wife will follow the same path, after she was not approved for the role, appointing a younger actress. But they fell in love with each other with renewed vigor. Rebooted.

Initially you were going to make the project low-budget...

That’s what I told Alain Attal: only one location, an apartment and a studio pavilion. Well, then ideas with special effects appeared, the finale with crocodiles in Miami... general film moved to another category.

How was the filming?

I've worked with the same team all my life. Starting with short films. Cinematographer Christophe Offenstein and I are like brothers. Everyone in the group knows me well. They know that I am very demanding – both of myself and of them. Everyone puts up with my nagging very patiently. We were lucky that our subjects were ready a week before filming, and we were able to rehearse some scenes with Marion in a relaxed atmosphere, and discuss angles and plans with Christophe and Rodolphe Loga.

Did you keep any past films in mind while filming?

When I wrote the script, I couldn’t help but think, of course, about Michel Blanc’s “The Insidiousness of Glory.” That film was also about the problem of image, and also self-ironic. There are many films of this kind, but I wanted to tell my own story. If it is necessary to draw parallels, then only with my first directorial work, “As You Say.” Here I wanted to achieve the same unusual intonation - to make a stupid comedy, but believable and sincere.

MARION COTILLARD: There is a vegetable garden in my Paris apartment

How did you react when you found out what the film was going to be about?

I thought: very inspiring! Already in the working versions of the script, there was scope for humor, for very funny scenes related to the problem of the actor’s image...

which concerns you personally...

Certainly. Always there is a discrepancy between you as a person, the image you project in the media (or would like to create), and what people think of you. This discrepancy is exacerbated by the fact that sometimes all it takes is one word or statement to distort reality and widen the gap between fantasy, myth and truth.

In the film, the hero’s ordinary interview for a glamor magazine provokes a real tsunami...

I like this image - a tiny grain, thrown in passing into his consciousness, makes the hero completely change. This clearly demonstrates how much you can depend on the opinions of others. And if this happens to a 40-year-old person, it’s a nightmare.

Did you have any concerns about the fact that you were both playing yourself here?

I wasn't afraid for a second. For two reasons - the comedic tone of the film and my absolute faith in Guillaume.

In the film, Marion Cotillard states that good role- this is a heroine with a physical disability or at least with an accent...

Naturally, this is a caricature of what some people think of my roles. And this is Guillaume’s revenge for the time when he is forced to endure me while preparing for the next film. When he first mentioned this project, I thought: well, finally! A French movie where I don't have to spend days with a teacher learning my accent! But then I saw that Guillaume was smiling mysteriously. And then I read the first draft of the script. He was so funny that I was excited to start working with a tutor on my Canadian French. It's not even an accent, but, one might say, a different language.

You and Guillaume both seemed to enjoy the “mirror effect” in which your own story was reflected in the film.

Many scenes took place in real life, but took an extreme form in the film. Sometimes an artist, immersed in a role, can behave in strange ways, depending on what he has to play. I still remember the expression on Guillaume’s face when I announced to him that I would play Lady Macbeth. And my face was no better when I found out that Cédric Angers had offered him the role of a serial killer in the film “Next Time I'll Shoot in the Heart.”

Vegetable garden in the living room - is it fact or fiction?

I actually have a vegetable garden in my Parisian apartment. True, on the balcony. When my son and I tinker with beans or tomatoes, it's so exciting!

What kind of director is Guillaume?

He is a maximalist and a perfectionist. He closely monitors everything, even the smallest details, and doesn’t leave anything to chance. But he is also an actor. He understands what we actors feel, our fears, our doubts, our emotional rollercoasters. Since I don’t have much experience in the comedy genre, I was in some tension at the beginning of filming - I had to find a balance between sincerity and comedy. I needed to get the clown out of me. Guillaume supported me a lot and helped me get ready. Without trust on film set nothing will work out.

"Forever Young" - very funny movie. But it also raises serious issues. Fear of aging, for example.

This fear is especially strong among actors. Sooner or later, looking at ourselves on the screen, we understand that we are getting old. Our roles change as we age. This is especially exciting and unnerving for those who continue to identify with their younger selves. In response to these fears, modern society offers an instant remedy. Instead of a gradual and long process of reconciling a person with himself, he is offered injections and operations. Here and now. The film talks about this, of course, ironically.

Metamorphoses with the hero after plastic surgery look creepy...

This is the real development of the plot. At the beginning, the reality of the film is very close to our real life, but gradually it is deliberately mixed with fiction and brought to the point of absurdity.

But the hero himself is happy.

This is temporary peace. You can’t live with a face like his for decades. This means that new modifications will be needed.

You film a lot abroad. Does the release of a French film give you any special feelings?

No. Each film is unique, each is like a new adventure. But this one is, of course, special. I was happy to work with Guillaume again. His previous film, “Blood Ties,” which I adore, unfortunately did not find its audience. Guillaume was very worried. So to see him back on set, directing the proceedings, with such a personal story, in the state of ease that comedy creates, is incredibly exciting.

ALAIN ATTAL: The paths of filmmaking are mysterious

You and Cane seem inseparable. You were the producer of all his films.

We have known each other since 1993. But we have no obligations to each other: the film is over - the page is turned. This is the relationship I have with all the directors I work with. In the absence of any obligations - enormous strength: You only do what you want to do and when there is a good reason for it.

After the film “As You Say” you both had ups and downs...

Success brought us closer, but disasters brought us even closer. Surviving a storm brings people together. We are friends, but our friendship does not prevent us from being extremely demanding of each other. There's nothing we can't talk about. Years of experience helped us on this film as well.

How do you work in the early stages of a project?

Guillaume likes projects to follow one after another. And my job is to support him. He has a lot of ideas and desires, but, I noticed, they only take precise shape when the previous project is completely completed. He works by inspiration. He's not one of those guys who sits down at a table, writes an outline, then a synopsis, then a script. Cane begins to write only when he has already thought out several scenes in detail. He's obsessed. You have to be firm with him.

Were you surprised by the theme of Forever Young?

I was immediately delighted and fired up by this idea, although I was afraid that Guillaume would not want to go too far in his self-criticism. His wife, friends, family were involved in the story, and I was worried that he would hide behind the cliché of an overly polished image. As I wrote the script, I realized that there would be no pressure on him - he was determined to make a “black” comedy.

This is a bold and unusual project.

Incredible! Some people tried to warn Guillaume against him, but not me. I gave him the opportunity to prove himself full program. While he was writing, I told him that this should be a story not only about the fears of a filmmaker, but also about what is familiar to every person - about a midlife crisis, about doubts, love, problems, choosing a path.

Initially, Guillaume intended to make a low-budget film.

The paths of filmmaking are mysterious. He really wanted to make the film quickly, with a small group. But the more new scenes I came up with, the faster the project turned from a planned mockumentary into a full-fledged game. I supported this change. Inviting the actors he wanted to film, ensuring the length of work that he needed, and that American “stupidity” in the finale were, of course, necessary large group and special effects.

Guillaume's complex makeup final scenes, probably created special problems?

Huge! It's always difficult when an actor spends hours doing makeup before filming. But when he also puts on a “suit” of pumped up biceps, when special effects and other complex technologies are used, the problems get worse. And when an actor stars in every scene, and, moreover, he is also the director of the film, this is where it begins

There is real rock and roll! When Guillaume, in full dress - biceps, makeup - gave instructions film crew, there was something schizoid about it.

You have worked with many directors who started their careers as actors (Nicole Garcia, Gilles Lellouche and others)…

My love for cinema came through the films of actor-directors, John Cassavetes for example. Their films fascinate me. Over the course of twenty years, I have produced many films by actors who have retrained as directors. But they never played leading roles in their films, and they certainly never played leading roles that required three hours a day of makeup!

Here you also performed for the first time as an actor.

Guillaume gave it to me to read big stage between his hero and the producer, and offered to play. I categorically refused. I laughed wildly when I read it, but his idea about my acting threw me into a stupor. I'm not an actor, and as a producer (in reality) I didn't want to ruin the movie with my inexperience. I was terrified. Then Guillaume reassured me, saying that Ivan Attal would participate in the scene, they would act out all the most important things among themselves, and I would only portray the producer’s anger in the background. In principle, I am a calm person, but once or twice Guillaume saw me in terrible rage. This is what he decided to use in the film.

How did you finance a film whose script was constantly changing?

Although scenes were rewritten as the work progressed and new directorial solutions were invented, the character of the film – a “dark” comedy – was determined immediately. Therefore, I managed to interest my partners. Every famous actor, responding to Guillaume’s invitation, added weight to the project. Despite the strangeness of the script, our partners - Pathé, Canal Plus, M6 - believed in the project, Guillaume and me, supported us, giving us great freedom.

	GUILLAUME CANET /Guillaume Canet/ Born April 10, 1973 in Boulogne-Billancourt, France. Winner of the Cesar Award for directing (“Don’t Tell Nobody”). He starred in the films “Cezanne and I”, “Love and Penguins”, “Dope”, “Next Time I’ll Shoot in the Heart”, “The Man Who Was Loved Too Much”, “Right to Left”, “ Wonderful Life", "Last Night in New York", "The Last Flight", "The Key", "Honey", "Just Together", "Hell", " Merry Christmas", "Glitch", "Car Keys", "Vidocq", "Loyalty", "Beach", "Barracuda". Director of the films “I Can’t Sleep”, “As You Say”, “Don’t Tell Anyone”, “Little Secrets”, “Blood Ties”.
	MARION COTILLARD /Marion Cotillard/ Born on September 30, 1975 in Paris. Winner (“La Vie En Rose”) and nominated (“Two Days, One Night”) for an Oscar, as well as European Film Academy, British Academy, and César awards – all for her role as Edith Piaf in La Vie En Rose . She starred in the films “The Ghosts of Ismael”, “Assassin’s Creed”, “Allies”, “It’s Only the End of the World”, “The Illusion of Love”, “Macbeth”, “Fatal Passion”, “The Dark Knight Rises”, “ Midnight in Paris", "Contagion", "Inception", "Nine", "Johnny D.", "Love Me If You Dare", "Taxi".
	Gilles Lellouche Starred in the films “Model Families”, “French Transit”, “Reckoning”, “Informant”, “Right to Left”, “My Piece of the Pie”, “The Extraordinary Adventures of Adele”, “Little Zone of Turbulence”, “Public Enemy No. 1”, “Masked Bandits”, “Elusive”, “My Wife is an Actress”, “Fall in Love with Me If You Dare”.
	BEN FOSTER /Ben Foster/ He starred in the films “Inferno”, “Warcraft”, “At Any Cost”, “The Storm Came”, “Dope”, “A Streetcar Named Desire”, “Lone Survivor”, “On the Run”, “The Mechanic”.
	IVAN ATTAL /Yvan Attal/ Starred in the films “The Last Diamond”, “His Wife”, “Old Lovers”, “Attraction”, “Rush Hour 3”, “Munich”, “The Elusive”, “Translator”, “Car Keys”, “Easier than a Camel” ...”, “After love”.
	KEV ADAMS /Kev Adams/ He starred in the films “Crazy Teachers”, “Sonny”, “The New Adventures of Aladdin”.
	CAMILLE ROWE / Camille Rowe / She starred in the films “Ideal” and “Our Day Will Come.”
	JOHNNY HALLYDAY /Johnny Hallyday/ Legend of rock music. He starred in the films “We Love You, Bastard”, “Pink Panther 2”, “The French Job”, “The Man from the Train”, “The Beast”.

FILM Crew

GUILLAUME CANET /Guillaume Canet/ – scriptwriter and director
Born April 10, 1973 in Boulogne-Billancourt, France. Winner of the Cesar Award for directing (“Don’t Tell Nobody”). Starred in the films “Cezanne and I”, “Love and Penguins”, “Dope”, “Next Time I’ll Shoot in the Heart”, “The Man Who Was Loved Too Much”, “Right to Left”, “Wonderful Life” , “Last Night in New York”, “Last Flight”, “Key”, “Honey”, “Just Together”, “Hell”, “Merry Christmas”, “Glitch”, “Car Keys”, “Vidocq” , “Loyalty”, “Beach”, “Barracuda”. Director of the films “I Can’t Sleep”, “As You Say”, “Don’t Tell Anyone”, “Little Secrets”, “Blood Ties”.

PHILIPPE LEFEBRE / Philippe Lefebvre / – scriptwriter
Born December 17, 1968. He starred in the films “Loner”, “Special Agents on Vacation”, “My Piece of the Pie”, “The Italian”, “Don’t Tell Anyone”, “As Charlie Says”, “Amateurs”. Author of the script for the films “As You Say,” “Real Weekend,” “We Are Legends.”

CHRISTOPH OFENSTEIN /Christophe Offenstein/ – cameraman
Director of photography for all films by Guillaume Canet, as well as the films “The End”, “Valley of Love”, “The Kidnapping of Michel Houellebecq”, “Free Exchange” and others.

MAXIM NUCCI / Maxim Nucci / – composer
Born February 23, 1979 in Creteil, France. Famous musician, author of five albums, actor. He starred in the films “Don’t Tell Nobody”, “Once Upon a Time in Marseille”, “Little Secrets”.

ALAIN ATTAL / Alain Attal / – producer
He took part in the creation of the films “The Illusion of Love”, “Dancer”, “My King”, “Next Time I Will Shoot in the Heart”, “She Adores Him”, “Blood Ties”, “Love at Your Fingertips”, “Balcony” with a view of the sea", "Little secrets", "Concert", "Don't tell anyone."

The personal life of the talented French actress is full and saturated with emotional ups and downs. Even as a young girl at the age of sixteen, she had whirlwind romance with the handsome director Julien Rassam. He gave her the lead role in short film"A game". Marion was incredibly happy. After filming was completed, the couple began to live together. But tragic circumstances could not hold this beautiful couple together. Abusing drugs, Julien tried to take his own life. When he died, Marion left for exotic India out of despair.

Having calmed down, the girl decided to return to Paris. Director Jan Samuel invited her to star in the film “Love Me If You Dare.” Here on the set she meets Guillaume Canet. The actor was married at that time, and Marion herself was dating musician Bob Sinclair. Marion Cotillard and Guillaume Canet quickly found common topics for conversation and became friends. According to the script they had love story. The young couple played their roles so naturally and naturally that after the end of filming there were rumors about their relationship together. But the young people denied everything.

At the beginning of 2003, the girl flies to America to shoot her first foreign film, “Big Fish.” And Guillaume is filming in France in the film “Narcos”. The actors kept in touch all the time. For a long time they hid their reverent and tender relationship. Even at the ceremony prestigious award The Oscar that Marion rightfully deserved for her role as the great Edith Piaf in the film La Vie En Rose was not accompanied by Guillaume. At that time he was already divorced.

Only in the spring of 2009 did they appear as a couple at the Cannes Film Festival. Then they presented the film “The Last Flight”. And even at that moment personal life Marion Cotillard did not go public, although according to the plot star couple played true love. The film was directed by Guillaume himself, and Marion performed in leading role. A year later, in December, at a festival in Marrakesh, the couple no longer hid the fact that they were going through a stormy living together. On this moment they have been together for four years now and are raising little son Marcel, who was born in May 2011.

The acting couple lives quietly, quiet life, avoids noisy parties. Together they prefer to walk around the city, go to cafes and go shopping. Their relationship together is not discussed in the press. There are a lot of creative plans ahead, the implementation of which lies ahead whole life. Marion is a passionate fan of the English football club Leeds United. She is also a member of the international organization Greenpeace and advocates for the protection of the natural environment.

New film by French actor and director Guillaume Canet "Forever Young" takes the self-deprecating (or is it self-aggrandizing?) genre of celebrity satire to a new level. Besides the fact that Cane and his common-law wife Marion Cotillard appear on screen as themselves, the director managed to attract other famous French actors, who also appeared in a cameo.

The film is a cleverly constructed comedy about a midlife crisis and a 42-year-old actor experiencing it as he destructively explores his ego over the course of two and a half hours. All this is accompanied by funny and frankly crazy jokes about the entertainment industry, which will definitely appeal to fans of French cinema. And at times a diligent and fervent game married couple could promote this very local cinema to the international market.

Canet is best known outside of France for his role in the film Danny Boyle"Beach", while at home he created unforgettable images in films by independent directors ( "Next time I'll shoot you in the heart", "Wonderful Life") and was featured in commercial mass culture products ( "Merry Christmas", "Right to Left"). In addition, he directed the thriller Don't Tell Nobody and the sentimental dramedy Little Secrets.

By returning to the familiar and most comfortable environment and turning the camera on himself from an unusual angle, Guillaume was able to present a fresh parody of celebrities that did not miss the ugly sides of celebrity life, which is greatly enhanced by the end of the story, which turns into something extravagant.

The beginning of the film is quite measured, however, when the hero Cane begins filming in the film of his friend-director ( Philippe Lefebvre), he has a conflict with a model turned actress ( Camille Rowe). The problem is that he plays not only a priest, but also her father - this takes a significant blow to the actor's ego, which is exacerbated after Rowe reveals in an interview that he considers his co-star too old and not "rock 'n' enough." roller" compared to young stars like her.

At the same moment, Canet's character becomes literally obsessed with his appearance and age, and when he tries to complain about this to his partner Cotillard, with whom he has common child, she's too busy own career to pay attention to his problems. “You can only play stutterers or disabled people!” - he breaks down at his wife who ignores him, referring the audience to the roles of Marion in films "It's just the end of the world" Xavier Dolan And "Rust and Bone" Jacques Audiard. But her current role is even worse: she's learning a Quebecois accent for new painting Dolan and insists on using the most radical form of this dialect.

The joke at the heart of this episode is unlikely to register with those who don't speak French, but Cotillard plays it off so earnestly that it can't help but generate laughter. Kane also looks good in the role of a fool, but he is more reserved, which distances him from his usual style French comedies. Each of these stories includes documentary facts, and in cameo roles such actors as Gilles Lellouche And Ivan Attal. There's even a goofy cameo from a rock legend Johnny Hallyday, which only makes sense if the viewer knows who he is.

Perhaps some of the gags will be incomprehensible to the audience, but everyone will definitely like the plot twist when Cane stops pretending to be a party boy and, having failed to have sex with either Cotillard, or Rowe, or anyone else, decides to improve his physical abilities. Without going into details, we can say that in this case what comes to mind is Mickey Rourke, and the results are far from ideal. The hero's transformation is so over-the-top that It'll Be Rock 'n' Roll ultimately loses some of its plausibility. However, it is impressive thanks to the excellent work of the make-up artists and visual effects team.