The portrait
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A fan of sentimental and swashbuckling cinema, the director and actor reveals himself to be a nice scammer in the city.
Be careful, Gilles Lellouche has capital excess and this applies to his sentimentalism as well as to his constitutive cheating. At the slightest board game, he steals the dice, abolishes chance and relentlessly whips the poor little horses. He never lets others win. At Uno, he hides the cards, and we bet that he was galloping well after the summons, when, on the sidelines of a shoot with Vincent Lindon, he faced the latter at 1, 2, 3, sun!
Be especially wary of his caricature, whether he anticipates, sketches, or deliberately forces it. On the day of the interview, in his production premises, he told the photographer Libé have only two expressions available. And it looks like a turned cheek to his detractors who see in him a monolith of French cinema, with a strong chin and a salt-and-pepper fleece, even if he is currently peroxided and suffering from a stubborn ear infection. “Symmetry Psychopath”he straightens a photo on the wall, before worrying about the image it sends back to the lens: “What do we see? The nose and two ears?
On the desk, a mug seems to have a say. We read “Boss” there and we agree, as the label sticks to him. Hugo Sélignac, producer and friend, describes a friendly and talented muddler, a free, slow director, with fixed ideas and crass bad faith: “But in the right
