With a little help from digital enhancing, Jeunet recreates a Paris as it might once have been, without really going back into the past. It's the most benign film to date from Jean-Pierre Jeunet, the gifted visual stylist who created some very dark films like Delicatessen, City Of Lost Children and his Hollywood thriller, Alien Resurrection. In her sweetly optimistic way she determines to help the people around her, to change their lives, while she herself maintains a solitary life.Īmelie or, to translate the original French title, The Fabulous Destiny Of Amelie Poulain, is both very original and rather old-fashioned. ![]() Amelie decides to try to track down the boy, now a man, and return his childhood toys. Now she works as a waitress in an old-style cafe and her life is changed forever on the day Princess Di is killed – when she discovers, hidden behind her bathroom wall, a box left there by a boy who once lived in the house. She's an only child whose mother died young and whose father was convinced she was suffering from a heart ailment so she never went to school and as a result lived a lonely life filled with fantasies. It was a disaster on Broadway.Amelie Poulain lives in Montmartre. I support an organization that provides open-heart surgeries for children. I accepted the money to save kids, but that’s the only reason. There was also a stage version of “Amélie.” Do you have any thoughts on that? 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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