M1 — Muzeumtura - francia modra
20261012 013000 UTC
283 transcript segments
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[00:01:08] too, well you would have to look at its
[00:04:37] now we're delivering retro
[00:05:00] was born during his plans, during the reign of Napoleon III, and
[00:05:03] during which the entire picture of Paris was transformed, I am now leading you into a seemingly not
[00:05:07] too large, but all the more wonderful building, here on the Grand
[00:05:10] Boulevard. We are in 1882, when Jules Grévy is the
[00:05:14] President of the Republic. In the same year, one of the editors of the newspaper Le Gaulois,
[00:05:18] a journalist named Meyer, thought that a place should be created
[00:05:22] that offers similar experiences to the
[00:05:25] boulevard press, like Paris Match, Le Gaulois, Le Voisier, in short, like the
[00:05:28] best boulevard newspapers of the time. This is how the Grévin Museum was created, where visitors
[00:05:32] could even touch the celebrities of their own time, those they talked about all the time anyway,
[00:05:36] and this happened when newspapers did not yet publish
[00:05:40] photos, at most only drawings.
[00:06:20] If you had the opportunity to put someone in here
[00:06:22] from 2007, who would you put in? Myself.
[00:07:21] "Good day, good day, not even that funny, this is how you have to pose here, well not really, this is how you have to take the pose, that's right, how long has it been, I've been here for seven hours, Tell me, do they ever ask you to
[00:07:25] retouch a few small flaws, for example, a
[00:07:29] small double chin? Of course, I also asked for that, that's true,
[00:07:32] look at that double chin you stuck on me, let's see, look at that double chin you
[00:07:36] carved there, but no, yes,
[00:07:40] yes,
[00:08:13] Yes, exactly, yes, yes, yes, we get the feeling
[00:08:17] that it needs to be reworked a little, well yes, the Grevin Museum invited me here, and
[00:08:21] I don't think I've changed, rather their technique
[00:08:24] has evolved, so they decided to create something that is closer to reality.
[00:08:38] What is the difference between the two works? The first time it happened differently.
[00:09:04] What are you doing to it now? You're detailing it, adding thin wrinkles,
[00:09:07] these are the final touches, I'm checking that everything is in order,
[00:09:11] that nothing has changed. and between the scanner and the clay,
[00:09:14] and of course I still need to make some corrections
[00:09:17] on it, including the direction of the gaze, so you make the necessary
[00:09:21] adjustments and make the eyeball, yes, and I produce a figure
[00:09:24] that is completely bald, has no hair, I see, this is just a skull,
[00:09:28] from this they make a mold and pour wax into it, then
[00:09:32] it will be in wax, I see, you decided to make it smiling
[00:09:36] now, but without teeth, most people open their mouths to a huge 32-tooth smile,
[00:09:40] but here it's just a closed-mouth smile.
[00:09:51] This wouldn't make much sense, we always
[00:09:53] try to make slightly different, varied facial expressions,
[00:09:56] including those that are not completely smiling, if
[00:10:00] that's how it resembles him best, then we'll do it, but I don't think even he
[00:10:03] would laugh with his mouth open all day.
[00:10:07] Thank you very much to both of you for letting us show this
[00:10:10] work process, I guess it's 15 hours of sitting.
[00:10:25] I'm meeting Veronik, I'm in the Column Hall of the Grévin Museum, this is a
[00:10:29] historically significant space, as this is where the Grévin Museum was opened to the public
[00:10:32] on June 5, 1882. I am here next to Madame
[00:10:36] Gandhi, good day, thank you for
[00:10:39] receiving me, why did those two gentlemen, Meyer and Mr. Grévin, open
[00:10:42] this place in 1882? This was mainly
[00:10:46] thanks to Arthur Meyer. I see. He was a journalist and edited the daily newspaper Le Golua.
[00:10:49] It was very popular at the time. He thought
[00:10:53] to himself that his readers might not know the faces of those he
[00:10:56] wrote about in his newspaper, so what
[00:11:00] if we created a three-dimensional
[00:11:03] newspaper, like this,
[00:11:06] there was no TV yet, as far as I know, and so, yes, the Grévin
[00:11:09] Museum is actually the first television, yes, the Grévin was born
[00:11:13] here, in this room, surrounded by these columns, under this
[00:11:16] dome, the decoration was specifically designed for this place, and here
[00:11:20] at that time we could also find all the famous personalities of the
[00:11:22] era.
[00:11:32] The optical theater is also very significant from a film historical point of view, what exactly
[00:11:36] is it? Émile Reynaud invented and
[00:11:39] realized the optical theater, and
[00:11:42] in 1892, the world's first animated film was shown
[00:11:45] here at the Grévin Museum, which was titled
[00:11:48] Poor Pierrot. Yes, it was incredibly
[00:11:52] successful, though poor Émile at the time painstakingly
[00:11:55] created all the animated films frame by frame,
[00:11:58] or rather, cell by cell. The idea of moving pictures was adopted by the Lumière brothers, among others,
[00:12:02] whom we can see here around the device they are working on. Walt
[00:12:05] Disney also expressed his admiration for the animated film in his
[00:12:08] works several times.
[00:12:15] Veronik, we are now in the Grevin theater, there are celebrities here. Roberto
[00:12:19] Benigni, Isabella, sugar celebrities
[00:12:21] are around us, but this hall also has historical significance.
[00:12:41] These two artists undertook to design and create the decoration of this wonderful
[00:12:44] theater, whose architect was otherwise named
[00:12:48] Rive. Naturally, Entan Burdé created the reliefs and
[00:12:51] all the sculptures. Jules Chéret was a famous poster designer
[00:12:55] at the end of the 19th century and the beginning of the 20th
[00:12:58] century. He painted this truly original atmosphere
[00:13:01] stage curtain, which is decorated with Commedia dell'arte figures, and which
[00:13:05] is truly stunning. It is certain that this is a wonderful backdrop for those famous
[00:13:09] people who visit here on certain notable occasions. That's
[00:13:12] right, how many figures are in the Grevin Museum today? 300
[00:13:16] wax figures make up the total number of figures in the museum. A large part of the figures
[00:13:20] are here due to their topicality, and in our historical section we
[00:13:23] present important personalities from the Middle Ages to Impressionism.
[00:13:45] Since the museum's opening in 1882, I imagine far more than 300
[00:13:48] personalities have been cast in wax. Of course,
[00:13:52] of course, as the most popular celebrities, artists and
[00:13:55] politicians are constantly changing. Over the past years, more than 200 wax
[00:13:59] figures have already been featured in our exhibitions. And
[00:14:02] where are those that have already been removed? What happens to them? Are they burned?
[00:14:05] Indeed, not a few of them really ended up in the
[00:14:08] fire, but we also have warehouses, and if we can, we preserve most of the figures
[00:14:12] even after they disappear from the headlines. We also have our
[00:14:15] own laws, just like the press. Thank you
[00:14:18] very much, Veronique. Thank you Eric, enjoy your visit. Then you'll laugh,
[00:14:22] I'll just go and adjust my little suit, my dear friend.
[00:14:55] "The final touches, and of course, before the clothes, comes the hair and the
[00:14:59] complexion, I present to you Valerie, who is currently working on the
[00:15:02] puppets, good day, Valerie, good day,
[00:15:06] who are you working on now? Nicolas Sarkozy, oh yes, there's
[00:15:10] the model opposite you, yes, yes, he doesn't have such long
[00:15:13] hair, no, no, the haircut comes later, but for the moment
[00:15:16] I'm just planting the hair fringe, we have a wig, a
[00:15:20] half-wig, and then I make the fringe. How do
[00:15:22] you do it?
[00:15:32] Now it stands steadily, no problem,
[00:15:36] it stands well, I would like to ask for something, yes, I know you will
[00:15:39] say it's not finished, not painted, but could we see Nicolas Sarkozy's
[00:15:43] face, well, you promised, I don't know if he would
[00:15:46] like it, but good for sure,
[00:15:49] it's not very nice now, because he doesn't have hair yet, and it's not
[00:15:53] painted, we can still recognize him, but here you go, yes, and now we can
[00:15:56] imagine what his face will look like at 70 years old, when he has less hair,
[00:16:00] yes, okay, well come with me, Valerie,
[00:16:03] I see all kinds of hands, scattered everywhere, I see it's completely ready.
[00:16:37] not a collection, this is enough, I'd rather say it's creepy, very
[00:16:41] scary, here you could find my eye
[00:16:45] retina, I see, the iris, well, this is not
[00:16:49] it, it's a little lighter, you have to carefully examine the iris
[00:16:53] branch, I see, there are very small and large eyes too, yes, there are small and
[00:16:57] large ones, and here the white is also important, because sometimes it's more bluish, okay, and now we are at a very
[00:17:00] important stage, the make-up of these faces, these personalities
[00:17:05] is underway, yes, it's not painted
[00:17:08] at all yet, but here's Lori, she's already being made up, this is already her
[00:17:11] second face, because she already has one downstairs in the museum, yes, this is her
[00:17:15] second head here, it's almost finished, but her hairstyle is still to come, it's not
[00:17:18] finished yet, you see, a few small adjustments are missing,
[00:17:22] refinements, smooth paint, not make-up paint, one would think that make-up tools
[00:17:25] are used for make-up, but no, yes, no, not at all, this is simple
[00:17:29] oil paint, but sometimes real cosmetics are used
[00:17:33] for painting eyes, but this is just oil paint now.
[00:17:49] Maryse, costume designer at the Grévin Museum, for about six
[00:17:52] years, good day, Maryse, good day, what
[00:17:56] are you working on, which one, oh, this is a very beautiful dress
[00:17:59] here, yes, this is very beautiful, this is Celine Dion's dress,
[00:18:02] which we are presenting in a Las Vegas setting, can we see it,
[00:18:05] I can show you, yes, of course. "It looks very beautiful, what
[00:18:09] material is it made of? This was sewn from silk, oh,
[00:18:12] wonderful, here it is, very, very beautiful, and how long is it, it's extremely large
[00:18:16] cut, you could say, a very beautiful dress, did you
[00:18:20] make it based on a photograph, or was it made based on the original
[00:18:23] dress, which was lent to us for a short time, we
[00:18:27] made an identical dress based on that, the same
[00:18:30] material, the same cut, are there any
[00:18:33] artists who give you their clothes, yes, of course,
[00:18:36] it happens." Well, I know that one of the first was singer-songwriter Serge Gainsbourg,
[00:18:40] who gave his famous shoe. Yes, his shoe
[00:18:43] and his suit, the shirt too, everything was his own.
[00:18:47] Yes, but when they don't give their clothes, then you have to make them, and that's your
[00:18:50] job. You have to make them, or you have to
[00:18:54] copy them. Based on the dress, or suit, that is actually.
[00:18:58] Yes. He also makes a lot of historical costumes, because there are a lot of historical scenes here too.
[00:19:01] What is this wonderful dress, can I lift it? Yes, of course. What
[00:19:05] is this here? Explain it to me, explain it. Actually, this is Catherine
[00:19:08] de' Medici's dress, and here too, here
[00:19:11] are many skirts, the underskirts,
[00:19:14] and then the corset,
[00:19:17] it's very similar to how we imagine this era,
[00:19:20] exactly, here, I'll lift it for you, here you go,
[00:19:24] the front, the back, this is Catherine de' Medici's dress, what did you
[00:19:28] work from, contemporary pictures, engravings, yes, for the historical
[00:19:31] scenes we do research, we have a quite significant historical
[00:19:35] document archive, I see, in this regard
[00:19:38] we do research, both regarding the cut and the
[00:19:41] materials, and of course the colors too, after that you just
[00:19:44] have to cut and make it.
[00:19:47] This is quite something, to work here at the Grévin Museum, this place is full of the
[00:19:51] memories of centuries. It's very pleasant here, it's a kind of
[00:19:55] virtual world, it's nice to get this close to these
[00:19:58] stars, and then not every costume designer has the opportunity
[00:20:02] to get close to every era.
[00:20:06] That's right, you're within a week.
[00:20:12] Exactly, that's right. What's your favorite memory of your profession,
[00:20:15] about dressing the copies, clones of the biggest
[00:20:19] stars? I think the most beautiful memories are the
[00:20:23] encounters I had with these artists, as for me, I have very pleasant memories of
[00:20:27] Henri Salvador. A vibrant,
[00:20:31] entertaining personality. Very entertaining, and it's also connected to my
[00:20:34] childhood, so, exactly.
[00:21:00] Good day, Elton John, good day, Fodell, good day, Henri
[00:21:03] Salvador, and good day, Henri Salvador, don't listen
[00:21:07] to him, thank you for being here, what do you think of
[00:21:10] him, I have to say, they did a good job of him,
[00:21:13] damn it.
[00:22:20] yes, yes, how awful it is to be called "connerie",
[00:22:23] because in French it means stupidity, great
[00:22:26] foolishness, to be called "connerie", that is, stupidity,
[00:22:30] anyway, thank you for being
[00:22:32] here, thank you, boss,
[00:22:36] Issar Salvador, then don't mess around,
[00:22:48] I have a meeting with Beatrice.
[00:22:55] Would you please speak quietly to Marguerite Yourcenar while I have a drink? Good day, Jean
[00:22:59] Reno, good day, Beatrice, who are the people
[00:23:02] most visited by visitors? There are
[00:23:05] several, but primarily Henri Salvador, Monica Bellucci,
[00:23:09] Gérard Jugnot, Jean Gabin, Mimie Mathy, Johnny Hallyday, and
[00:23:12] Jean Reno. Beatrice, who are the ones who have recently joined the Grévin
[00:23:16] Museum? A fantastic global superstar. Céline Dion
[00:23:20] yes, she's been here since January, before her, Laurent Gerra,
[00:23:24] Gérard Jugnot, Amélie Nothomb were placed here. Who decides
[00:23:27] which personalities can enter the Grévin Museum? It's very difficult to get
[00:23:31] in here. There is a so-called Grévin Academy, whose
[00:23:35] president is Bernard Pivot. Yes. This academy meets
[00:23:38] twice a year, composed of journalists with various interests,
[00:23:42] about a dozen. Every year we present them with a list
[00:23:45] containing the names of popular, well-known personalities. It was a stroke of luck
[00:23:49] that he was present.
[00:24:20] to participate in a jury, the Grévin Committee is a huge
[00:24:24] honor, because for me, the Grévin is in some
[00:24:28] sense the Pantheon of the living.
[00:24:30] It's too early for Raphael, a little too early for Kylian,
[00:24:34] that's my opinion, would you like to comment
[00:24:36] further.
[00:24:40] The main condition for someone to be admitted to the Grévin Museum is the degree of fame
[00:24:44] and recognition, or we could also say the magnitude of achieved glory,
[00:24:48] popularity. "We live in an age of disposable stars, who
[00:24:51] appear and are discarded by the audience and the media three months later,
[00:24:55] these don't need to be made, because we don't even have time to
[00:24:58] dust them off, no, no, no, no, no, I
[00:25:02] say this is very good,
[00:25:05] the most important thing remained recognition,
[00:25:08] popularity, that they should have something, a
[00:25:10] life's work, or something like that,
[00:25:14] and he, of course, yes, if
[00:25:16] you want, there are people
[00:25:50] "Our expectations coincide with those of the audience, they regularly
[00:25:53] write and tell us that they want these or those celebrities, so we put the
[00:25:56] celebrities on the lists, I must therefore also explain what our
[00:26:00] audience's expectations are, but I..." I do not participate in the debate, I do not
[00:26:03] vote, it could be something very funny too, at least that's what
[00:26:07] I say, I also chose Franck Dubosc, here is
[00:26:10] Romain Duris, Gad Elmaleh, José Garcia and Fabrice
[00:26:14] Luchini. It's difficult, no, there's plenty of
[00:26:16] choice. Now I ask our dear friends to
[00:26:20] leave us alone, because we have serious work to do. And this takes place in a completely
[00:26:24] closed session among the academics. Closed
[00:26:28] doors mean closed doors, as Bernard-Henri Lévy says, the door is either open
[00:26:31] or.
[00:26:38] The closed session is over, now we can hand over the list of
[00:26:42] nominees,
[00:26:43] come on,
[00:26:47] Winston Churchill and Callas,
[00:26:50] we could say, unanimously
[00:26:53] elected Fabrice Luchini, and
[00:26:57] Jean
[00:26:57] Garian.
[00:27:02] Excellent.
[00:27:07] "I have a meeting with Lydia, who is a tour guide, Lydia herself, well
[00:27:11] here she is, good day, I'm Eric, very pleased to meet you, please take a seat, a tour guide
[00:27:15] here in the museum, how many languages do you speak? I speak English, Spanish,
[00:27:18] French and German, do you know an anecdote about all 300 celebrities
[00:27:21] who are here? Yes, well yes, we'll check it right away, here's
[00:27:25] Callas, Callas is very famous for her jewelry, as well as her
[00:27:29] vocal technique, all right, very!"
[00:27:34] What can you say about Jean-Paul Gaultier? Jean-Paul Gaultier
[00:27:37] launched Naomi Campbell's career, who was incidentally the first
[00:27:40] non-white model. Look
[00:27:43] at that, and Jean Gabin, there? Jean Gabin. I'll repeat the famous
[00:27:47] line. You have beautiful eyes, you know? So I take a gentleman I like,
[00:27:50] I stand him next to me and make him repeat this famous compliment. So
[00:27:54] he flirts. And Orson Welles by your side. He made all of America believe
[00:27:58] that aliens had arrived in New York. That's true. In a
[00:28:01] radio broadcast in the 40s.
[00:28:14] Welcome to the Palace of Illusions, the Palace of Illusions was one
[00:28:17] of the attractions of the 1900 World's Fair, it stood next to the
[00:28:21] Trocadéro, and then good day, Nicolas, good day, Nicolas
[00:28:25] technician, he deals with the work going on here, so the palace stood at the
[00:28:28] Trocadéro, and then they brought it here,
[00:28:35] Nenar created this attraction for the 1900 Paris
[00:28:38] World's Fair, yes, and Gabriel Thomas, who liked this
[00:28:41] attraction very much, decided to buy it and placed it here in
[00:28:45] 1906, in the Grevin Museum, what is the principle of the structure, I see
[00:28:48] mirrors everywhere, I guess they reflect in all directions, so light play, yes, we have three
[00:28:52] scenes, yes, which are reflected back in a hexagonal room,
[00:28:56] so the whole process reminds one a little of a kaleidoscope,
[00:29:00] so every scene is reflected to infinity,