The piano before the cinema
A performance far from the excesses of the family of Jeff, Cathy and the others. No fries on the menu either, but still mashed potatoes: the one that his character – Jimmy, a working man from the North of France – serves in the school canteen that employs him. A rather rough guy who discovers himself… a brother when the latter shows up at his house one fine morning to ask for a little help. Three times nothing: just a marrow transplant. Except that the stranger, although coming from the same womb, had the good fortune (?) to be adopted by a bourgeois family, and now happens to be an internationally renowned conductor. Not the same karma.
guillementI come from the middle class. When I was little, I was a bourgeois among the poor, and a poor among the bourgeois
“It’s a lot to digest“, as the brave Jimmy says. And a lot of catching up to do. A nice comedy subject, too, ideal for this 35-year-old actor who places music… above cinema in the low ranking of his passions:My first love is the piano and my mistress is the cinema“, says the man who was placed in front of a piano by his mother when he was very young and does not despair of leading, one day, a musical career.
In A fanfare, it is into a trombone that he blows since Jimmy – who has “that” in his blood, obviously – plays it for the local brass band: “I had never done one, and I thought I would be able to produce a decent sound in two months. But it takes a year for that. So, it’s quite simple: in the film, when it sounds wrong, it’s because it’s me, and when it sounds right, it’s because it’s dubbed! (he laughs)
Not here to save the world
Right, Pierre Lottin is certainly right in this very moving role, and in a film that confronts two worlds: France at the top and that located, let’s say, a little lower on the scale of social success. The thing speaks to the 35-year-old actor: “I come from the middle class. Basically, when I was little, I was a bourgeois among the poor, and a poor among the bourgeois.”
guillementCinema often wants to make people understand things. Sometimes you can also leave them alone and just try to make them laugh
It’s all, ultimately, a question of point of view. That of this adopted Parisian, born in Angers, is very lucid about his own career. More “serious”, the role of Jimmy can clearly offer him new horizons,”but I’m not saving the world, either (sic) : let’s say that instead of being offered the third or fourth roles, I might be entitled to the first or second.“
No question, however, of putting comedy aside. Making people laugh, he loves that. And absolutely does not deny, for example, its participation in Tuche : “These are films full of scenes that have become cult, that means something. Because it’s well written, with good references, by people who have a sort of absolute ear for bullshit. Cinema often wants to make people understand things. We can also sometimes leave them alone and just try to make them laugh.”
Pierre Lottin is not the type to pretend: before arriving there this Friday, Namur, he did not know: “I may have filmed there, because I often filmed in Belgium, but you know, in this job, one day you are there, the next day you are elsewhere… and you end up getting lost (he laughs)!”
On the other hand, as a good Frenchman, he says “love the Belgians”: “It perhaps sounds a little Parisian to say that, I realize, but there is a subtlety, in Belgium, that we have lost a little in France since the 80s and 90s. An outdated side, even in the language that we have not been able to maintain. I grew up with Dikkenek : this film rocked me, I loved it, and I know it by heart. I also really like the work of Jaco Van Dormael: frankly, Mister Nobody, There, you had to think about it, it’s a barge. Frankly, the Belgians, they have good ideas, they are stubborn. That’s why I really like these people. It’s okay, have I licked your derche enough? (he laughs)
A real favorite from the start of FIFF after being presented in Cannes, En fanfare also highlights the world of brass bands, here balanced with the more prestigious world of “great” classical music. “A bit like amateur theater with “real” theater, the world of brass bands is very disconnected from that of classical music.recognizes Emmanuel Courcol, the director of this “feel good movie” in which Benjamin Lavernhe also appears. However, there is also, in places, a real requirement for quality. With, as a bonus, a real friendly bond.“
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