George Clooney ‘‘It Is A Crime Not To Protect Cultural Works During Conflict’’
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George Clooney ‘‘It Is A Crime Not To Protect Cultural Works During Conflict’’
by Mazy Wed 12 Mar 2014, 10:26
George Clooney ‘‘It Is A Crime Not To Protect Cultural Works During Conflict’’
Created on 03/11/2014 at 4:23 p.m. - Updated 12/3/2014 at 7:24
INTERVIEW - The actor-director recounts the genesis of the "Monuments Men," his fifth movie behind the camera ...
Wednesday released in France your fifth film, Monuments Men . Why did you make a film about World War II?
I know a lot about World War II. I grew up in the student. This is an important part of our history, especially the United States, and of course France. There have been many films about the conflict. It has almost covered all subjects for 70 years. But I do not know the history of the Monuments Men. Hitler had not only the desire to steal works of art, but also to destroy the culture of several generations of Europeans. We wanted to make a feature film as one of those old movies, The Guns of Navarone or The Great Escape , with lots of stars and a light touch. We did not want to Saving Private Ryan , and everyone explode into pieces.
Why the topic Monuments Men keeps you heart to it?
For the first time in the history of war, the winner has made all the countries that have been looted. Since it did not produce much. If we do not protect cultural works, if we do not protect museums in Iraq, leaving steal or destroy the parts, it is a crime. And not only for the Iraqi people, but for all humanity. This also applies to Syria and Afghanistan with the Taliban. Because it is our history. The only way to know who we are and where we come from. The Monuments Men were not created just to search for works of art. There was an awareness of when the Allies bombed the abbey of Monte Cassino, Italy. For the Italians, they were the barbarians. It almost nearly destroyed The Last Supper of Leonardo da Vinci!
For the film, you have inspired anecdotes recounted in the book by Robert Edsel. A concern for historical accuracy?
The craziest things are sometimes true. When Monuments Men are a sign of the Altar of Ghent , returned with minors who used it as a dining table, it's true.
Why change the names of the Monuments Men and also Cate Blanchett, who plays the French Rose Valland attached conservation museum Jeu de Paume?
Almost all the characters are inspired by those who actually existed. But changed their names because we made a film. We wanted there to be a flirtation between Matt Damon and Cate Blanchett. Which is not very fair to the families of James and Rose Rorimer Valland, real people. But we wanted to show how Rose was heroic.
Why did you give as Frank Stokes, which brings soldiers (Matt Damon, Bill Murray, John Goodman ...)?
Loved his side key-on and resourceful in all circumstances. It was a fun role, which almost corresponds to what I had to do on the film: to recruit team players. Go to Australia to find Cate, ask each of them if they wanted to participate in the film ... For Ocean's Eleven , it happened just the same way.
And Jean Dujardin?
John and I became friends, especially during the Oscars. I saw The Artist in Toronto and I told him: "If you learn to speak English, you will win the Oscar." I never had to tell him that (laughs) . I love it. There was no French Monuments Men, but I wanted John in the film, one has written a role for him. This is one of the most fun I've ever encountered men. Three years ago, before he learned English, we could barely talk. But we could still communicate so it is a good mime.
Do you have any new projects to build?
This is one of the biggest budgets films I shot 70 million. But it is too much pressure. The next budget will be smaller.
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protéger les œuvres culturelles pendant les conflits»
Créé le 11/03/2014 à 16h23 -- Mis à jour le 12/03/2014 à 07h24
INTERVIEW - L’acteur-réalisateur raconte la genèse de «Monuments Men», son cinquième film derrière la caméra…
Ce mercredi sort en France votre cinquième film, Monuments Men. Pourquoi avoir voulu réaliser un film sur la Seconde Guerre mondiale
J’en conna? is beaucoup sur la Seconde Guerre Mondiale. J’ai grandi en l’étudiant. C’est une part importante de notre histoire, surtout aux Etats-Unis, et bien sûr en France. Il y a eu de nombreux films sur ce conflit. On a presque couvert tous les sujets pendant 70 ans. Mais je ne connaissais pas l’histoire des Monuments Men. Hitler avait non seulement la volonté de dérober les œuvres d’art, mais surtout de détruire la culture de plusieurs générations d’Européens. On voulait faire un long-métrage comme un de ces vieux films, Les Canons de Navarone ouLa Grande Evasion, avec plein de stars et une touche légère. On ne voulait pas faire Il faut sauver le Soldat Ryan, et exploser tout le monde en morceaux.
Pourquoi le sujet des Monuments Men vous tient-il à cœur?
Pour la première fois dans l’histoire d’une guerre, le vainqueur a tout rendu aux pays qui ont été pillés. Depuis, ça ne s’est pas beaucoup produit. Si on ne protège pas les œuvres culturelles, si on ne protège pas les musées en Irak, en laissant dérober ou détruire les pièces, c’est un crime. Et non seulement pour la population irakienne, mais pour toute l’humanité. Cela vaut aussi pour la Syrie ou en Afghanistan avec les Talibans. Car c’est notre histoire. La seule manière de savoir qui nous sommes et d’où nous venons. Les Monuments Men n’ont pas juste été créés pour rechercher des œuvres d’art. Il y a eu une prise de conscience dès que les Alliés ont bombardé l’abbaye du Mont-Cassin, en Italie. Pour les Italiens, c’était eux les barbares. On a presque failli détruire La Cène de Léonard de Vinci!
Pour le film, vous vous êtes inspirés de petites anecdotes relatées dans le livre de Robert Edsel. Un souci de véracité historique?
Les choses les plus folles sont parfois vraies. Quand les Monuments Men trouvent un panneau de l’Autel de Gand, retourné, avec des mineurs qui s’en servaient comme table pour manger, c’est vrai.
Pourquoi avoir modifié les noms des Monuments Men et aussi de Cate Blanchett, qui interprète la Française Rose Valland, attachée de conservation au musée du Jeu de Paume?
Quasiment tous les personnages sont inspirés de ceux qui ont réellement existé. Mais on a changé leurs noms car on fait un film. On voulait qu’il y ait un flirt entre Matt Damon et Cate Blanchett. Ce qui n’est pas très honnête pour les familles de James Rorimer et de Rose Valland, les vraies personnes. Mais on a voulu montrer combien Rose était héroïque.
Pourquoi vous êtes vous donné le rôle de Frank Stokes, qui rassemble les soldats (Matt Damon, Bill Murray, John Goodman…)?
J’ai adoré son côté touche-à-tout et débrouillard en toutes circonstances. C’était un chouette rôle, qui correspond presque à ce que j’ai dû faire sur le film: recruter l’équipe des acteurs. Aller en Australie pour chercher Cate, demander à chacun d’entre eux s’ils voulaient participer au film... Pour Ocean’s Eleven, ça s’était passé un peu de la même manière.
Et Jean Dujardin?
Jean et moi sommes devenus amis, notamment pendant la cérémonie des Oscars. J’avais vu The Artist à Toronto et je lui ai dit: «Si tu apprends à parler anglais, tu gagneras l’Oscar.» Je n’aurais jamais dû lui dire ça (rires). Je l’adore. Il n’y avait pas de Monuments Men français, mais je voulais Jean dans le film, on a donc écrit un rôle pour lui. C’est l’un des hommes les plus amusants que j’ai jamais rencontrés. Trois ans auparavant, avant qu’il n’ait appris l’anglais, on arrivait à peine à discuter. Mais on pouvait quand même communiquer tellement c’est un bon mime.
Avez-vous de nouveaux projets de réalisation?
C’est un des films à plus gros budgets que j’ai tourné: 70 millions de dollars. Mais c’est beaucoup trop de pression. Le prochain sera à plus petit budget.
Created on 03/11/2014 at 4:23 p.m. - Updated 12/3/2014 at 7:24
INTERVIEW - The actor-director recounts the genesis of the "Monuments Men," his fifth movie behind the camera ...
Wednesday released in France your fifth film, Monuments Men . Why did you make a film about World War II?
I know a lot about World War II. I grew up in the student. This is an important part of our history, especially the United States, and of course France. There have been many films about the conflict. It has almost covered all subjects for 70 years. But I do not know the history of the Monuments Men. Hitler had not only the desire to steal works of art, but also to destroy the culture of several generations of Europeans. We wanted to make a feature film as one of those old movies, The Guns of Navarone or The Great Escape , with lots of stars and a light touch. We did not want to Saving Private Ryan , and everyone explode into pieces.
Why the topic Monuments Men keeps you heart to it?
For the first time in the history of war, the winner has made all the countries that have been looted. Since it did not produce much. If we do not protect cultural works, if we do not protect museums in Iraq, leaving steal or destroy the parts, it is a crime. And not only for the Iraqi people, but for all humanity. This also applies to Syria and Afghanistan with the Taliban. Because it is our history. The only way to know who we are and where we come from. The Monuments Men were not created just to search for works of art. There was an awareness of when the Allies bombed the abbey of Monte Cassino, Italy. For the Italians, they were the barbarians. It almost nearly destroyed The Last Supper of Leonardo da Vinci!
For the film, you have inspired anecdotes recounted in the book by Robert Edsel. A concern for historical accuracy?
The craziest things are sometimes true. When Monuments Men are a sign of the Altar of Ghent , returned with minors who used it as a dining table, it's true.
Why change the names of the Monuments Men and also Cate Blanchett, who plays the French Rose Valland attached conservation museum Jeu de Paume?
Almost all the characters are inspired by those who actually existed. But changed their names because we made a film. We wanted there to be a flirtation between Matt Damon and Cate Blanchett. Which is not very fair to the families of James and Rose Rorimer Valland, real people. But we wanted to show how Rose was heroic.
Why did you give as Frank Stokes, which brings soldiers (Matt Damon, Bill Murray, John Goodman ...)?
Loved his side key-on and resourceful in all circumstances. It was a fun role, which almost corresponds to what I had to do on the film: to recruit team players. Go to Australia to find Cate, ask each of them if they wanted to participate in the film ... For Ocean's Eleven , it happened just the same way.
And Jean Dujardin?
John and I became friends, especially during the Oscars. I saw The Artist in Toronto and I told him: "If you learn to speak English, you will win the Oscar." I never had to tell him that (laughs) . I love it. There was no French Monuments Men, but I wanted John in the film, one has written a role for him. This is one of the most fun I've ever encountered men. Three years ago, before he learned English, we could barely talk. But we could still communicate so it is a good mime.
Do you have any new projects to build?
This is one of the biggest budgets films I shot 70 million. But it is too much pressure. The next budget will be smaller.
[You must be registered and logged in to see this link.]
protéger les œuvres culturelles pendant les conflits»
Créé le 11/03/2014 à 16h23 -- Mis à jour le 12/03/2014 à 07h24
INTERVIEW - L’acteur-réalisateur raconte la genèse de «Monuments Men», son cinquième film derrière la caméra…
Ce mercredi sort en France votre cinquième film, Monuments Men. Pourquoi avoir voulu réaliser un film sur la Seconde Guerre mondiale
J’en conna? is beaucoup sur la Seconde Guerre Mondiale. J’ai grandi en l’étudiant. C’est une part importante de notre histoire, surtout aux Etats-Unis, et bien sûr en France. Il y a eu de nombreux films sur ce conflit. On a presque couvert tous les sujets pendant 70 ans. Mais je ne connaissais pas l’histoire des Monuments Men. Hitler avait non seulement la volonté de dérober les œuvres d’art, mais surtout de détruire la culture de plusieurs générations d’Européens. On voulait faire un long-métrage comme un de ces vieux films, Les Canons de Navarone ouLa Grande Evasion, avec plein de stars et une touche légère. On ne voulait pas faire Il faut sauver le Soldat Ryan, et exploser tout le monde en morceaux.
Pourquoi le sujet des Monuments Men vous tient-il à cœur?
Pour la première fois dans l’histoire d’une guerre, le vainqueur a tout rendu aux pays qui ont été pillés. Depuis, ça ne s’est pas beaucoup produit. Si on ne protège pas les œuvres culturelles, si on ne protège pas les musées en Irak, en laissant dérober ou détruire les pièces, c’est un crime. Et non seulement pour la population irakienne, mais pour toute l’humanité. Cela vaut aussi pour la Syrie ou en Afghanistan avec les Talibans. Car c’est notre histoire. La seule manière de savoir qui nous sommes et d’où nous venons. Les Monuments Men n’ont pas juste été créés pour rechercher des œuvres d’art. Il y a eu une prise de conscience dès que les Alliés ont bombardé l’abbaye du Mont-Cassin, en Italie. Pour les Italiens, c’était eux les barbares. On a presque failli détruire La Cène de Léonard de Vinci!
Pour le film, vous vous êtes inspirés de petites anecdotes relatées dans le livre de Robert Edsel. Un souci de véracité historique?
Les choses les plus folles sont parfois vraies. Quand les Monuments Men trouvent un panneau de l’Autel de Gand, retourné, avec des mineurs qui s’en servaient comme table pour manger, c’est vrai.
Pourquoi avoir modifié les noms des Monuments Men et aussi de Cate Blanchett, qui interprète la Française Rose Valland, attachée de conservation au musée du Jeu de Paume?
Quasiment tous les personnages sont inspirés de ceux qui ont réellement existé. Mais on a changé leurs noms car on fait un film. On voulait qu’il y ait un flirt entre Matt Damon et Cate Blanchett. Ce qui n’est pas très honnête pour les familles de James Rorimer et de Rose Valland, les vraies personnes. Mais on a voulu montrer combien Rose était héroïque.
Pourquoi vous êtes vous donné le rôle de Frank Stokes, qui rassemble les soldats (Matt Damon, Bill Murray, John Goodman…)?
J’ai adoré son côté touche-à-tout et débrouillard en toutes circonstances. C’était un chouette rôle, qui correspond presque à ce que j’ai dû faire sur le film: recruter l’équipe des acteurs. Aller en Australie pour chercher Cate, demander à chacun d’entre eux s’ils voulaient participer au film... Pour Ocean’s Eleven, ça s’était passé un peu de la même manière.
Et Jean Dujardin?
Jean et moi sommes devenus amis, notamment pendant la cérémonie des Oscars. J’avais vu The Artist à Toronto et je lui ai dit: «Si tu apprends à parler anglais, tu gagneras l’Oscar.» Je n’aurais jamais dû lui dire ça (rires). Je l’adore. Il n’y avait pas de Monuments Men français, mais je voulais Jean dans le film, on a donc écrit un rôle pour lui. C’est l’un des hommes les plus amusants que j’ai jamais rencontrés. Trois ans auparavant, avant qu’il n’ait appris l’anglais, on arrivait à peine à discuter. Mais on pouvait quand même communiquer tellement c’est un bon mime.
Avez-vous de nouveaux projets de réalisation?
C’est un des films à plus gros budgets que j’ai tourné: 70 millions de dollars. Mais c’est beaucoup trop de pression. Le prochain sera à plus petit budget.
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Re: George Clooney ‘‘It Is A Crime Not To Protect Cultural Works During Conflict’’
by party animal - not! Wed 12 Mar 2014, 11:14
Don't think I've seen him talk about the pressure of making big budget films anywhere before....
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Re: George Clooney ‘‘It Is A Crime Not To Protect Cultural Works During Conflict’’
by silly girl Wed 12 Mar 2014, 13:09
I think he did feel the pressure of a big film like this......probably why they delayed the release. There probably is more freedom and less accountability when there isn't as much money at stake....also less people to answer to in the end....
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Re: George Clooney ‘‘It Is A Crime Not To Protect Cultural Works During Conflict’’
by Mazy Thu 13 Mar 2014, 17:38
silly girl wrote:I think he did feel the pressure of a big film like this......probably why they delayed the release. There probably is more freedom and less accountability when there isn't as much money at stake....also less people to answer to in the end....
Yes he said that in one of the articles not sure which one it was. This is the largest budget they had to work with. But I think that they did an excellent job, it's not like it's the fifth, really their first in this bracket. I know it's not perfect, but there are some really good reviews out there from ones that know the style that he was going for.
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Re: George Clooney ‘‘It Is A Crime Not To Protect Cultural Works During Conflict’’
by LizzyNY Thu 13 Mar 2014, 19:40
Just saw an article in the Sydney Morning Herald where he said he wants to go back to smaller-budget films because there was so much more pressure doing a big budget film like this.
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Re: George Clooney ‘‘It Is A Crime Not To Protect Cultural Works During Conflict’’
by Nicky80 Fri 14 Mar 2014, 22:09
Thanks Mazy, nice article (moved it from the film section to this one as it is an interview, hope it is ok).
Interesting that he thinks now he wants to get back to smaller budget films. Maybe he will change his mind if MM turns out to be a BIG success and brings the money in.
Maybe he feels a bit "insecure" at the moment regards to the success and the income revenue of the movie that's why maybe he thinks to step back from big budget films? Just guessing of course...
Interesting that he thinks now he wants to get back to smaller budget films. Maybe he will change his mind if MM turns out to be a BIG success and brings the money in.
Maybe he feels a bit "insecure" at the moment regards to the success and the income revenue of the movie that's why maybe he thinks to step back from big budget films? Just guessing of course...
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Re: George Clooney ‘‘It Is A Crime Not To Protect Cultural Works During Conflict’’
by What Would He Say Fri 14 Mar 2014, 22:17
Nicky80 wrote:Thanks Mazy, nice article (moved it from the film section to this one as it is an interview, hope it is ok).
Interesting that he thinks now he wants to get back to smaller budget films. Maybe he will change his mind if MM turns out to be a BIG success and brings the money in.
Maybe he feels a bit "insecure" at the moment regards to the success and the income revenue of the movie that's why maybe he thinks to step back from big budget films? Just guessing of course...
@Nicky....Oh I was not in the loop... I assumed the movie was doing very very well?
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Re: George Clooney ‘‘It Is A Crime Not To Protect Cultural Works During Conflict’’
by Nicky80 Fri 14 Mar 2014, 22:23
Well, maybe it is....not sure the income they have now is a BIG success or just a success ....Not familiar with that business. But I guess we have to wait a bit loger to see the final result. I was just referring above that he might be nervous about it. You know like is school when you work hard for your exam - you do it and while you wait for your result you start to doubt yourself....
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Re: George Clooney ‘‘It Is A Crime Not To Protect Cultural Works During Conflict’’
by What Would He Say Fri 14 Mar 2014, 22:26
I saw the movie, and loved it...but thats just me...
PR I thought was a bit hit and miss .... maybe that would account for any "insecurity" that I was not aware of?
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Re: George Clooney ‘‘It Is A Crime Not To Protect Cultural Works During Conflict’’
by party animal - not! Fri 14 Mar 2014, 22:46
I think that His Nibs has felt the responsibility of big budget film making quite keenly now ( and must have a huge appreciation of the pressure that people like Alfonso Cuaron must have been under when Gravity literally took years to make).
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Re: George Clooney ‘‘It Is A Crime Not To Protect Cultural Works During Conflict’’
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