All language subtitles for Brotherhood.of.the.Wolf.(2001).DC.V2.(1080p.BluRay.x265.10bit.Tigole)_track9_eng

Samuel Le Bihan.
- Vincent Cassel.

Cassel, the so-called crochon.
Now. We comment...

Is your name now crochon?
- Well, I decided

to accept my lineage.

The little secret on the DVD.
- I agree.

The additional DVD.
Now I know the name of Vincent Cassel.

In any case,
that is a very short introduction.

This looks like the beginning of
HUSSAR SUR LE TOIT, but no.

It's the PACK OF THE WOLVES!

Through the window. And oops!

I can't say much about this
because I don't play here!

Neither do I. It is the beginning of
the shooting, the first buildings.

I like this shot.
I always ask myself,

how they made the mix between
rotated and artificial pictures.

This is interesting.
This sequence was censored:

Not for viewers under the age of twelve!

A member of the commission told me
that people were censored here

because you heard the cracking of
their vertebrae in the final mix.

Therefore, it was not released to
viewers under the age of twelve.

That was less good for us.
Well.

At some point they will have to pay for it!
We have the names.

Here you can hear the crackling that is us
Cost 2 million viewers!

Here!
- Incredible.

So the censorship was afraid
as you can see.

And here is the actress.
- And then INTIMITE came out from Chereau.

He was also censored. The criteria
for censorship are illogical for me.

I don't know if that rain
was misleading advertising.

Here is the fight
who never appeared in the film!

Exactly, and I'm not
even on horseback here!

Well, it's not that dramatic.
- That was the 2nd team.

You have to be careful for close-ups.
I don't remember who said that.

Yes, but a bravo for the people!
They stood there in the rain.

He shoulders just like you!
- Yes, but he looks pretty crooked.

He could have raised himself up.
- I found that confusing for the audience,

although I liked it very much in the Sceript.
They were disguised as women

as bait for the beast.
- You look like clowns!

Yes, high shoes and white faces.
You look like a clown gang!

And here is Virginie Darmon. Your role
looked very difficult in the script.

But she really knows her role!
She worked a lot to

i saw her.
- Yes, it was 100% in it,

she didn't say a word.
- Here you can see them for the first time.

Wasn't there a problem with the fight?
Tell me.

That was the first fight
that we rehearsed and shot.

And then everything was completely muddy.
We have 80,000 liters of water

get on your head! Incredible!
You just thought

that you don't fall.
We just slid in the mud, you got

no longer thought of fighting.
- This whole sequence where you fight

wasn't in the final cut, was it?
- Yes. In the 2nd and 3rd part, with Mark,

we have implemented many
little tricks with the stick.

I'd like to see that
maybe it's a bonus on the DVD.

I think so.
There are outtakes on the DVD.

So: Here Mark shows it to the guys!

Mark Dacascos.
- It's incredible.

Back then I was so
afraid of the fighting

that I asked him to wake
me up at 5 am to exercise.

And the guy even did it!
Relaxation, yoga, training.

The guy just scratched my door!
He said he didn't want to knock loudly,

if I still want to sleep.
He just scratched!

He really is like Fred Astaire.
Ah, the thunder right on the stick!

And with the little slow motion.
- And now you're fighting.

Oh no!
- We'll never see that!

Now I'm attacking.
- The text!

First keyword.

Philippe Nahon.

The fans of Gaspar Noe's
films are sure to have him in

SEUL CONTRE TOUS and seen in CARNE.
And I've just been with him

LES RMERES POURPRES shot.
Almost a week in advance.

I didn't know him as an actor
and now suddenly I see him

in many films. Awesome! He's a guy
who is present in the film

but nobody pays attention to him. He is like that.
- So funny.

It's incredible,
how Philippe works.

Before the shoot it just doesn't
come out with him, he is not in it.

I had the impression
that he didn't care about the text,

that he didn't know him at all, like this:
You see, um. Yes I.

But very cool, and then,
when the camera was running, he was in there immediately!

In reality, he didn't know the text.
He memorized it

and then he waited. Look here.
- Yes, it plays well.

It's funny that Perrin plays
the role of old Jeremie.

He has something like that in the
Tornatore films made, you know?

Do you remember that?
He already played in CINEMA PARADISO

these adults,
with the kiss scene at the end.

I like this western music here.
Little homage to Sergio Leone.

Yes, and the coats!
- Maybe not exactly a homage,

but it has something, the coats,
the music and how we go up the stairs here,

we cross over.
That was one of the scenes in the film

that I liked the most.
- Indeed?

As a child I always wanted a
great hero like in the movies

by Sergio Leone.
- Yes, you were totally in it.

Jeremie, the Belgian career.

The little louse
of French cinema.

Did you really shoot it at the beginning
or was this sequence at the end?

I think that was in the beginning.
That was one of the first scenes

that we shot.
It was pretty chronological.

The very first scene I shot
was the one in prison who comes later.

The scene at the end? Where you eat
- Yes, with Monica.

Yes I remember.
- I think that was the first day.

Or no, on the second day, but.
- You hadn't understood yet

what was going on here!
- No! And the text was incredible!

And cameras everywhere. Strange!
There were definitely 200 pictures

it was huge, really,
another one and another and another.

When I got there
it was hard for me to understand

what Christophe actually did.
I never knew where the camera was and.

You understand a bit what the guy is
doing and how you have to play and.

I always had the impression
the camera is behind me

and complained about it.
- The staff too, because they knew

initially not what
Christophe actually wanted.

I say I didn't understand anything
but somehow I felt it.

Do you know actresses, Samuel?

That was the steadycam,
a single shot.

It’s going to be pretty long
about two and a half hours?

Mark Dacascos!

We all wear wigs in this movie
and this is incredible

because I think you don’t notice.
Sometimes yes, sometimes not.

It was a real challenge
for two hours in the morning

Let hair stick on your head!

With this shot everyone
Women crazy about Mark Dacascos!

Always the same.
- He looks a little bit

like Michael Jackson, don't you think?

Really a strange comparison.

I was prepared for everything
but not on Michael Jackson!

Well, he has such a fine face.
- Well.

No? I think they are similar.
- The same nose, you mean.

No, he already has something from him.
You know how he moves?

The nuns.

I wasn't there yet.
It was much shorter for me than for you.

Thank you for saying that.

If you get into a movie like that,
you really don't know where it's going.

Here are the pictures
of Mathieu Lauffray.

This is not my hand.

If it wasn't a wolf
then what was it?

Do you feel the same way? If you have one
See movie, you want some scenes

play again. Or repeat sentences,
that you still have in your head

It's really weird.
- Or someone in the street says something

that you had in the text and you think:
Why does he say my text?

I don't particularly like this scene.
- There is this story.

I didn't like it
to play this scene because.

Fronsac gives a lot of information
about the history and so on.

If you play something like that
you don't have much to do

Dialogue with another
person is simply nicer.

Didn't the story of
the crow happen here?

Tell me. I was not there,
I only heard about it, but it.

Something strange happened.
The guy got into his little truck

and brought us sleeping crows.
He gave them sleeping pills

so that they look like they're dying.
One of them would be during the shoot

almost drowned and Mark
Dacascos fished them out again.

We didn't notice anything, we played.
He saw it right away

and got angry. Really crazy!
He grabbed the crow

taken out of the water
everyone insulted and said:

What are you doing?
Damn it, it's just a movie!

We never found out if the guy
killed his crows for the movie

or whether they were still healthy afterwards.

But for me, the story of these
crows was always a bit lazy.

The life of a crow
wasn't worth much.

I saw CASTAWAY yesterday.
You think he kills cancer

but the cancer is animatronics.
The Americans who don't want any problems!

The cancer doesn't move
but it's not that well done.

Here is the investigation
and at the same time you are.

I like this drawing.

A little harpsichord
and now you come from the dead woman

in the precious little salon.
- As soon as I hear harpsichord

and seeing people with wigs
reminds me of Polanski's film

DANCE OF THE VAMPIRES.
Bernard Farcy, incredible!

We shot it in this jewelry box
from Schloss, it was also long.

I pull a face like that
because my recordings were over.

The arm! It wasn't easy either
since I have quite plopped myself!

That was full of crap!
Then I had a kind of corset

so you don’t see the arm
and the thing was complicated!

It had to be prepared for a long
time and in the end I noticed

that a vest would have done it too!
There is a scene where you see.

I still tell that.
The arm looked really believable!

That was our first scene together.
- but not the first,

that we shot together.
- Yes, I think it was this one.

Do you think
- Yes I think so. But.

I always thought we were.
Here I look like I am

just smoking all the time.
It annoys me. Look here.

Oh yeah, that's weird.

Jean Yanne with his lying across
Weft hair style!

It was really funny
because Jean Yanne is lying across

Never wanted to wear a hairstyle
because he's his face in the mirror

didn't want to see and he was right!
He hated his wig.

It was just on the table all the time.
- He really used it as a hat!

Yes, if he was a little cold
he wore it like a hat.

I think back then they wore
the wigs like they did a hat.

Here we are.
- Tear open.

Emilie "Double" Quenne.

It's funny, I shot this
scene halfway in the Dordogne

and half in Paris, but you don't notice it.
Half consists of buildings.

Here when you see the sky, of course!
- Here for example,

when I turn around there is.

So here it is buildings
and here again buildings.

There are no buildings here.
I don't remember anymore.

No buildings here.

And here again buildings.
- But the whole sky is.

No, there is also a natural one
Heaven, transitions between the heavens.

He mixed the two.
- You don't see it.

You can't see the difference.
Both skies look exactly the same.

It's good that there are
Belgian actors in France

that raises the level.
- Heaven is real here.

I think there are a lot of
Belgian actors in this film.

The Belgians are very good. In the past
there were always so many Belgians.

And they are not as complicated
as the French, I think.

That’s clear.

There were lots of little ones that day
Anecdotes. Nothing special.

The scene with the slap in the face!
- Yes, the slap scene.

It was April 1st and we
wanted to be kidding.

Suddenly I look at Jeremie
who was sitting at the other end of the board

and ask: do you know that with the
Slap? And he answers: yes.

Then I get up, totally angry,
I go to him around the table.

He has his chin propped up and
he gets a slap in the face,

he jumps off the chair and the
whole team is quiet as a mouse!

Except you and Emilie.
You were sitting next to me

and followed everything.
And then Samuel Hadida got up

and in his eyes I could read:
My god, my film is in danger!

It was really laughable!
Then I said to Jeremie: Another one!

So he caught another one.
Then I'm screaming loudly

ran out, insulted everyone and
Jeremie pretended to cry

when he went out. The room fell silent.
Everyone was worried.

Everyone looked at each other and thought: shit!
- And then we danced.

It was so weird!

Yes Dad!

At certain moments it had to be
a little frustrating for Mark.

All these recordings
WHERE he just stood there.

He was definitely a little pissed off.

I thought this Morangias should
definitely have something feminine.

I've always analyzed it like this:
You played Ja Fronsac

and you were the hero and
there were fights and so on.

So to fit the movie well,
I had to be your opposite.

And that's why I played
this ambiguous role.

It's not very easy
what he's doing, really.

It was really not easy
because we all looked at him

It was always uncomfortable.
- He should be ridiculous and

seem embarrassed. It is his 1st scene.
He's been there for a week

and sees everyone playing.
- He freaked out pretty well too.

He plays under pressure
and looks totally careless.

He did it all at once, poor man.
- That was awesome. Tear open.

I had problems with the wig.
- Oh yes?

So, it's really complicated.
These are the things. Oh well.

But you don't notice
I think.

Let's say we don't notice.
We don't want to see it.

So, the wolf is.
- Added.

It was incredible, so many people!
- Suddenly there was a storm.

He took the tent with him, unbelievable!
- And there were storms.

It was really not easy.
We went up in buses

through this pass and the road.
That was really hell.

We really suffered.
This job is really hard!

Damn it. I think,
I'm going to stop now.

Nicky Naude, with whom I had just
played in the RMERES POURPRES,

and Daniel Herroin, kung fu master,
two hundred Dan I think

i don't know how much.

These are two real fighters,
and Nicky is also an actor and a leader.

Really two pigs.

I find Virginie particularly
crazy in this scene.

You yawn Are you not interested in everything?
- Listen! So you know.

I always find more
that you're in a movie.

So, every shot.

You have to spread little
information little by little.

One detail and another and another.
- Exactly, do you see?

Basically it is this
Professional thing that's really funny

and also if you see afterwards
what happened to it.

For me one of the best things about
shooting is when you do something

broadcast in a role
but you don't know exactly what.

And then you see the result at the end,
and you notice it like the others

it's really interesting!
And besides, you have no choice.

This fight was really nice.

I have a little regret
about the fights:

When I see what people
really do physically,

I sometimes find that the camera
the inclusion in the movement follows.

Although the actors' movement
was pretty incredible.

If I watch everything in time lapse,
to see the fights i like it

when I see everything at once
And that I watch the whole movement

can look at, because only in this way
can I really imagine what actually

You don't get the movement
you only see something that flies, but.

You do not have the time,
to really imagine it.

I agree! If the guys don't really
know the movement, I understand

but otherwise, if you suddenly
have such special people as Mark,

who does everything himself.

It is really very rare.
This scene with the two women

who want to annoy and attack him.
- Well, all the girls are going crazy,

when you see that.
- But he doesn't spare her in the end.

That is the incredible thing!
- No, of course he defeats her!

What was their name? In the opening credits they were called
"Otters" and "guinea fowl".

A little flic-flac, great,
cozy.

So you and Jeremie, you were all
Time together, right?

Kind of like "partners in crime".
- Yes, we have a lot of time

spent together, one can say.
We were in the mountains

in the. In the accommodation.
- With a Playstation.

Sometimes you got there.
- Well, in the end I was probably there too.

I started shooting
quite late and you had.

I really like something
about Mark's movements,

it's its lightness,
a bit like an animated film.

If you look closely. For those,
who will watch this DVD:

In slow motion, it's incredible
because he's so very relaxed

even if he stretches out!
Incredible, really!

This is what you call a gift.
You have a super fight and boom!

There! You have the impression
that I only fought for 10 minutes

and in reality I only get to it
at the end and extend my arm.

Thank you! So this gun
that was hell!

There was no clear information.

You needed a gun
that was really believable.

You found this in the last minute and
you had to wait for the recording,

until the gun was ready.

Shouldn't the pistol be made of horn?
- Yes, it should be something very visual

but that's okay too.
He looks believable

and I could shoot
more or less with it.

This recording was not easy.
You had problems with your text.

I almost always had text problems
but there was still a problem.

I had not yet found my place in the
film, so to speak.

Later it's ok, I'm in there.
- It's always like that.

After a while everything is fine.
- I dubbed it all up.

I like the dubbing.
You can often get something out,

when you’re having
a little bit of fun.

Virginie worked like
crazy for this scene.

She has visited doctors and epileptics.

I have a cousin
she has this disease

and what Virginie is doing
is really very realistic.

It looks like a sick bird.

Here you can’t see it so well
but. Something like that happens to me.

You're talking, and at the same time I
had a piece of sandbag in the picture.

Because of the camera,
and Virginie couldn't shoot the scene.

Bravo.

He is almost jealous.

It was not easy,
to rehearse this scene.

I agree.

Then he should pack the thing.
It wasn't that easy.

These things with the horses
that was hell too!

Half of it was shot in Paris.
- Yes, at the end of the sequence.

Because. I don't know why anymore.
It had rained

but what's strange. Incidentally,
this was the beginning of the shoot for me.

Sometimes I felt
not knowing at all

what Christophe wanted to do
with the camera. That was clear.

I could not. At the same
time, I found it stimulating.

So that you could see me either way.
But there was someone

who said: I'm just shooting
close-ups of my actors,

when my actors are
not good enough.

By that he means that you can see
it from afar when you see something

feel and can radiate.
That's what I felt like.

Then I thought: damn shit!

The horses too.

That was. That is in Fontainebleau.

Where is that? This does not look good.
- No, we are not anyway.

But now I slowly realized that
the 2nd team is a very good idea!

Here you can see that it is not me!
- No!

This is a girl on a horse!
- Who? You? - Yes I am sure!

Look, these attitudes!
- Stop that nonsense.

The 2nd team is a wonderful thing!
When you see what you have to turn.

If they can free you from a few
shots, that's fantastic.

Everything is fake, unnatural here.
They rebuilt the cathedral

the trees too and everything.
These are not real ruins.

Damn it, that's impressive.
- Everything is made of polystyrene.

This tree, like in SLEEPY HOLLOW.
I've always found

that this tree is something of
SLEEPY HOLLOW.

It has to be mentioned that Mark
does not speak French in life.

Funny, this little organ music.

Pragmatic fronsac.

The red cross of the Knights Templar.

What did you do there?

This is crazy when they kill the wolves!
I always wondered how to do it.

This is also the 2nd team here.
- This is really disgusting,

how they do it so that the wolf
jumps up when it is killed!

You tie him to an iron thread!
- No! I thought,

it would be these things that span
them in the middle, and all at once.

Yes, exactly, it is like a feather!
- The wolf was in it, he jumped.

They were thrown into the air
when they excited these things. Good!

The wolf was paid too,
he won't annoy us yet!

There!

It didn't hurt him at all!

They are trained.
- Yes.

Here again the 2nd team with Bill.
Director of the 2nd team.

The white wolf.

The horse that I ride here
I use in almost all films.

DUVAL by Mario Luraschi.
It is always the same.

Incredible, how scary
Wolves can be.

Yes, poor wolves!

When shooting with animals you
really need hours. Incredible!

Look at the birds.
- These are not real.

No, not at all, these are real ones!
- Honest?

I thought it was animation!
- No, they caught her!

There were hundreds of birds like this!
The guys stood there with cages,

they filled it, and then suddenly,
the birds were released!

I hated that shit hat
but the stuntman had turned

and then I had to wear it!

Here I juggle a bit.
- These wolves weren't really there.

It is an animation.
These are not dead wolves

they are anesthetized coyotes.

A real mohawk!

Here they cut part of the
scene, right in the middle.

Yes. "To hell" and all of these things.
You have to.

You have to place them. Oh well.

The coyote in the background is
also anesthetized, don't worry!

A stunt coyote!
- With strawberry juice on the paws!

These are big scenes, really.
When you see something like that

does it really look like...
There are about 150 people there.

That night Mark was
bitten by a dog.

That mustn't be true!
The animal lover has been bitten?

He gave him something to eat
and suddenly he says: Au!

He sat there and the dog bit!
- He was just like that in his role.

He saves crows, he kisses dogs, etc.
- It was a big dog and Mark fit

not on. In that moment,
when he gives him something to eat

he bit his finger.
- It’s also amazing

that he has never ridden!
And here, within a very short time,

he rode almost bareback.

Hans Meyer!

Absolutely crazy. Like Baron von Munchausen.
- It's incredible.

At the beginning of the shooting we
lived in a kind of country house.

We played with Jeremie
percussion all day.

And Hans sat down next
to us and listened.

That was on Sunday, we didn't hear
him at all. He was totally awesome!

But he really enjoyed himself, I think.
I don't know how old he is

but he was happy to be involved in
such a film with this whole gang there.

I don't know why
but this evening here

he went next to me and
declaimed an English text.

It was a quote from Polonius,
addressed to Laertes:

He came to you.
- Yes, exactly, and in English.

Then he translated it for me.
Like a message

that a father gives to his son.
I was surprised

but I was very happy.
I was really touched.

Farcy. This is a guy who can
really concentrate very well.

He's just doing
nonsense all the time

it is fully there! We shot this
scene late at night, we were all.

That was totally awesome, because all the scenes with
Bernard Farcy. It's the same scene.

He shot the whole sequence!
- He played five minutes

we were all there with the coats,
already made up, changed clothes.

We were all behind the
camera and we watched him

and then shot the scene.
Many of us laughed to death.

He didn't say anything. He didn't laugh
he just played. Unshakable.

I really worked on the relationship
between Fronsac and Jeremie.

That's why we talked a
lot about it to Jeremie.

We wanted to find something in common.
Even with the looks.

The relationship should
be honest and fair.

Yes, you were companions.

Take a look at where they're going!
- Yes, exactly, he leads him to the brothel.

And outside of the shoot he
treated me the same way as Fronsac,

he said: come with us,
we go there and something.

She looks like she got
a few on the bum! Funny.

Yes! I always wonder
when i watch the movie!

She must have been somewhere before.
- It is all red,

but only on the butt cheeks!
- Put powder or ice on it.

That was so wanted!
- Yes, a piece of ice in the butt.

I had already imagined a lot.
- It's made specially, as if.

As if she'd got one on the butt.

Mathilda, Christina,

Lazelda.

Laura. And Monica!

Monica had to change her contact
lenses constantly throughout the film.

There was a slight difference
in the colors of the eyes

and finally she was a spy and
should never remain the same.

You should never be sure
that it really was.

It was something very subtle.
- It's awesome because you don't notice it,

that the eye color changes.
You think there's something in her eyes

somehow something scary.
- But you have to say

that the production of the DVDs is
really an incredible technology.

Because there you can Monica Bellucecis
See contact lenses.

And here it comes!
- A new fight scene with Mark Dacascos,

who wears a wig!

I think that was organized especially
that Vincent and I comment here!

No, I asked about it!
- So that we can see the DVD,

and especially this scene!
- I wanted to tell you something else.

Not so long ago I almost
had a film with a lot

Sex scenes shot. And I thought:
Crap! Sex is like stunts!

So I wanted a stuntman for
the sex scenes in this film,

if you see too much
- Do you have a stunt double?

I have a stunt tip!
Then I did a casting.

A corner casting?
- A casting for my double.

Today there are more and more films
that are very clear.

At some point you have to show it.
In the 700s, everyone was naked.

There was the big thing
to see the actor's ass.

But today you suddenly have
to see the actor's erection,

to see if he's a good one
Is an actor. Well built!

You will cut yourself!

She also starred in the
films of Gaspard Noe.

I do not know anymore,
as she is called, damn it.

Her name is Jacky Pain!
- For sure? Yes, exactly right.

Franckie Pain!
- Franckie Pain!

With Mr. Peau-Rouge?
- I think the prostitutes are.

It looks a bit
like "old school".

This is a real mohawk tattoo.

Tattooed by Monsieur Thomasin.

Wandering tattoo artist who was
only a short time in the Dordogne.

The story is really true!

These pictures are beautiful.
Mathieu Lauffray drew them.

Christophe wanted to keep
them in a certain style,

a bit like in the comics.
He wanted the styles

juggle a bit.
- This scene.

What else can you say?

Not this one, but the next one.
The landscape shot, that is.

Really cool.
- I love that!

Truly unbelievable. These two mountains!
- Yes, did you see?

Here, her face!
- And the fir is on the breast!

And the transition with the face,
that is really very well done.

That was in June, when the sun was shining!
I think they're potato flakes.

And at night, by the way!
- Night potato flakes.

Night flakes! Not from the same bag here!

The goats - like the beast -
were produced by.

The goats were treated very well!
At the end of the shooting

you haven't eaten them!

I remember! I couldn't get
these pictures in the church.

I had to work on the
RIVERES POURPRES and.

You shot without me and you
wanted to use a double for me.

On the phone I said to Christophe Gans
that my character is not here at all

can be there because he was busy
with the beast and killed the kids.

But he wanted my role to be
represented, even though I myself

couldn't play. So you used this
double, which can also be seen.

And I almost believe myself
that I was there. Seen in profile.

I have to find that and show you!
- Something funny happened.

Everyone in the room thought
Vincent Cassel would be there.

But your double didn't move!
- Over there, you can see him! Incredible!

Yes, you can see him in the background.
- But "en face" he is not that cool.

But he didn't move there
you only saw his back. And all,

I mean the extras who said:
Vincent Cassel, he is so haughty!

He doesn't speak to anyone
and just stays in his corner!

And then I kept saying:
No, that's a double!

And the others: No, that's not one
Double, he's there! I know it!

That must be an
actor from the area.

Bernard took care of the casting.

Bernard knew every actor.
- Sponsored by the Puree Mousseline,

if it continues like this!

The snow here was no longer out
Potato flakes, but from foam.

It was really funny because there was one
Scene that has been cut.

Immediately afterwards I had one
Scene with Stevenin and every time

when we played I saw one
Foam flakes on his nose!

Like Obao foam on his nose!
That was impossible

you just couldn't stay serious.
It was no longer credible.

But the scene was cut.
You follow directly on this with Emilie.

It was a little confrontation scene
with the pastor,

WHERE he challenges me a bit.
We threatened ourselves a bit.

Christophe has to make
the other audio comment

definitely say eight times as
much as the two of us together!

What was that here A quarry,
that you cleaned up

or a landfill,
where the garbage was removed before?

They redesigned it, didn't they?
I thought. Anyway, I've heard.

Not? All right.
- Emptied, cleaned and everything back in?

No, that was for Belphegor, I think.
I must have been dreaming!

I have a great horse!
- Did he really have his own long hair there?

No, he had a wig on, right?
- He had. Yes.

Caval Cador.
- Oh, that's the name of the horse!

That was a great horse!
Unfortunately, you don't see it in the film,

but it does the most incredible things!
You see, I'm talking about my horse

and you see a guy lying there!
Funny. You have a body in the picture

and say: I have a great horse!
People hear this and think:

They don't even talk about the body!
But in the other audio comment

Christophe Gans tells you a lot about it.
Have a look there

and if you feel like it,
you can come back later.

This is of course a doll. No,
we sacrificed a local child

but it was well paid for it!
- But the wolves were treated well.

The roots of the polystyrene tree.

And then there were so many mosquitos!
- Yes, it was summer.

Ah yes!

There we were in Bordelais, I think
when we shot it.

We need a whole day for that.
- Yes, it was actually quite long.

There were so many axes, so many shots,
you really don't notice

but there are many axes.
It is never the same.

Shouldn't you say:
What kind of wolf do we have?

The text changes constantly with me!
- It sounds like you have

the text upside down,
it sounded strange.

In general, this language in the film!

If you just say for fun: what,
the hell do you want, madam?

I always thought
that it sounds almost ridiculous

you could say.

Certainly!

What the hell is going on here?

That day was hell for Stevenin!

Yes, that was gruesome because
Farcy was always joking with him.

And it started to degenerate.
- Besides, everyone had their own scene

over the whole day. The last one in the
evening, that was too much, he was tired!

We were all tired
but it was his inclusion!

From Paris. Tell me,
you trained a lot, didn't you?

You had gained weight for the film, right?
- No, I have not gained weight at all.

I had even lost some weight.
The last 3 months before shooting starts

I trained.
- After I finished filming

I saw you again
You weren't done with the movie yet.

You had really lost weight
because of the shooting, the stress.

Yes, I had lost weight, but only
to be able to move faster.

I see? Because you were a bit stocky?
- Well, I was too strong.

Yes I understand you well,
I have such problems too!

But honestly, you had to be
very fast for the fight scenes.

I lost a little bit
to get faster.

We had something incredible here.
All the time I just thought:

Damn it, let's train!
We have to learn the choreography!

But nobody could tell us
then what would come in the film

and you had to call production
ten times to get someone!

Not Philip Kwok, but someone
that was there for us! Incredible!

So I thought it was the final fight
something huge and all that.

And I didn't get any information!
- But it was really strange

because Mark Dacascos and I started
Had problems with Philip Kwok,

because he doesn't prepare the fights.
He performs them spontaneously,

instinctively, even with the buildings.
And we rehearse a bit,

especially me because I wanted to work.
After all, that's not my subject.

Philip explained to us
that he works instinctively.

For the first fight we trained
we have prepared something

but afterwards there was nothing left.
Everything just spontaneously.

But I continued to train: kicks,
Punches, kung fu movements.

It's a bit like these great
choreographers in classical dance.

When they have big dancers in their hands,
can you tell:

Hopp! Roll, big jump,
Fall, great messenger.

And the dancer knows
you don't need to explain anything to him.

Kwok 's partners in Hong Kong and those of
State circus know everything!

He doesn't have to think so much
but it's different with us.

But there are quite a few
accidents in Hong Kong.

So. There is a kind.

There are so many options!
I once have a report about

Shaolin monks seen. You think
these Shaolin monks are very pious!

But the guy said: No, I'm a monk,
to become an actor in Hong Kong!

That was funny.

And there are many, many stuntmen.

On the other hand, they are
Security measures are not the same.

But Philip was great.
He knew exactly

who he was dealing with.

When I first met him
I thought: He killed you!

He looks like a killer,
he really has the face of a killer!

And he looked at me,
from head to toe, with one look!

I thought! Damn it!
They hired a killer for the stunts!

I would now like to fly over for
a while and learn everything.

That has to be tough. Simple but tough.
- The warfare is completely different.

What I learned from Nicky
Naude in my last film.

All kicks and punches are carried
out with different impulses.

Everything is different
Body made.

You have to be very supple
not to hurt yourself

This is cinema fight!
And I really learned that last year.

For me it was real choreography.
- Exactly, it's like a dance.

And it sounds strange
but the best stuntmen are those

are the world champions. Tao World Champion!
- No fight world champions.

No fight world champions.

Very strange dream sequence.

Yes, we shot it in the studio.
The room was originally recorded,

but I think,
this is a studio recording.

The vision continues!

This knife also
looks very strange.

And down!

Beauterne arrives here.
- Right!

If you jump out of the window
with the shirt and stuff,

that looks like Cartouche. - I agree.
Incredible, just like Belmondo!

It's all one scene!

When I open the window.

The vision. All just one
Admission. I have to run out

get dressed, wait, i get dressed!
Now i run

I still have to put my shirt on!
- At least you have the pants

dressed on the stairs!
- While running! That was hell!

I have to put my shirt on,
jump over the wall and sometimes.

And this is where the scene begins
I had to be on time

because we play the scene together!
We had to calculate the time exactly

when he starts riding his
horse and me start my action

so that we can meet
precisely for the recording!

It took us a whole day to do this!
It really annoyed us.

He really has a face, honestly!

Incredible. What's his name? Johan.
Lensen.

Leysen!

A Belgian actor!

No? Dutch!
- Yes. Good.

Otherwise, are you okay?

This is Sergio Leone, look,
the scene with the bathroom.

But was he naked?

I do not know anymore.
I do not think so.

But the dog was naked!

I would normally have one
Western film peed in his bathtub

or I would have shot him
or shot around the house.

But no, I only had my sword.

I like that when he gets excited!
- Yes that is.

Yes / Yes.

Yes / Yes!

Do you see? He looks like a child!

I forgot his name here.
- Jean-Paul Farre?

He believed in it. You feel,
that he's totally inside!

It is really very good!
- I remember him

because he did skits on the piano.
- No, this is triboulet!

No, it was.
- Jean-Paul Farre too?

I've seen him a lot in the theater.
- Do you remember triboulet too?

No.
- Triboulet!

I hear a voice calling me!
Triboulet!

That was a little interlude.

What is he actually putting in his nose?

An old Indian mix.

30 or 25 years old.
- The role of Duhamel.

If you called for him very quickly,
I've always heard "Jamel":

Hey Jamel!

Again drawings by Mathieu Lauffray.
- All characters are shown here.

We shot this in London.
It was funny, the camera was just

two centimeters from the eye!

Sometimes Jeremie had a hard time
to pronounce everything correctly. "Immediately"!

He had a Belgian accent
who was also heard.

It was difficult for him, he kept
rehearsing, rehearsing, rehearsing!

"Immediately". True, you're right.

And here comes the nightmare.

Right, you shouldn't
have been in the church.

You can see that here. But you
have to see it in the whole context

how your role develops in it.
That was that day.

After church. That's right, a lot of
people didn't really understand that.

But I didn't think it was funny.
- No, many were afraid.

Christophe said no at first.
But it was normal for me!

Not only,
because I couldn't be there.

But if you really want to
understand all these details,

there are these little things
which are also very helpful.

I think that just makes it clearer.
You know

what to do
what your character has to do.

This also makes shooting
easier, I think.

It is strange,
to play while riding.

Every time I did that
I found that strange.

Yes you mean

That’s 500 kg,
that react for you.

Yes, and those torches!

They smoked so much!

We all came with masks
everyone had a mask.

Whenever a recording was done
we had to open everything.

You can see it in the light
of the basement windows.

A little game with the breath.
- I play a little with my breath,

so that I look a little nastier.
- He has a little more nose.

Did you enlarge them?
- Yes, to show: I'm angry!

No, sometimes you have that
when you play, but well.

There are many in these two scenes
Recordings with the 2nd team, I think.

This recording. This is a gesture
which I also do when Mani dies.

I lean over him and hold my
hands in exactly the same way.

As if I wanted to take his soul.

Mark didn't have much text.

Nevertheless, he played very well
and brought a lot of charisma.

Here you can see the excellent
work of the second team.

And that of taxidermy.
These are not my hands!

These are not your hands at all!
What a funny thumb.

Not the same at all.

Your forearms look a bit
like sausage forearms!

You can see I'm not.
But they had taken pictures of me!

You don't see it in the film.
- Thank God!

They took prints from my hands
so that they look like my own.

And here, working with the dead animal!
What a guy.

I'm pretty glad
not to have been there.

Funny job, isn't it?

Funny job. Before I do that
Film started

I went to a museum in one
Taxidermist. I wanted to see,

how they work. These guys are amazing.
They are often outside

to watch these animals.

They inform themselves and read.

In the taxidermy,
stuffing is only a small part of the job.

It essentially consists of
extensive knowledge of animals.

These guys are scientists
and still stand

with both legs on the ground.
They often play rugby or something.

You stay in nature for two weeks,
make camping in the forest.

I worked as a deliverer
in a television shop and

delivered a device to an old lady.
She had a white poodle.

In her room she had all the poodles,
that she used to have

on the wardrobe. All stuffed!
She had all the dead poodles with her,

on her closet! The little living one
certainly saw that too and thought:

At some point I'll end up there!

Ah, this is a scene
that they didn't take in.

Yes, of course.
- It wasn't in the theatrical version.

Now you can finally see her.

Thanks to the magic of the DVD.

This subjective recording was
not intended for me at first,

but for Nicky Naude,
one of my two right hands.

He should steal something
for me and then...

Christophe and Sebastien
finally got me to

breathe in something so it is me.
You can recognize my voice.

There is the little
snore of the suitor.

There is the mirror...
That's not me.

You never see you in that mirror.
Did you delete that somehow?

That was also... the well-known 5th coil,
that was totally killed

so that the film can go to the cinemas
so that we can get an idea.

In this costume the arm
looked very believable,

because it was kind of tight.
We chose it at the very beginning.

Here I was able to hide my
arm really well and later...

This scene was always a
kind of turn on for me.

At least that's how I played it.

Here I should out of the picture
but you shouldn't see the arm.

So I preferred to let you go first.

And here... My arm is in front,
so you can't see it from behind.

And when I go after her - there! -,

I put my arm on my back!

That's why you don't see my
arm and you think: damn it!

If it’s neither front nor back,
then he just doesn't have one!

I never saw that scene!
- Damn! I would have shut up

if I had known that!
- Yes, please. Keep your mouth shut.

Man, I have a big nose!

Master crow on his tree...

Can the guy manipulate!

And here I laugh myself dead!
- Yes, you can see it when you go out!

You're exaggerating!

We played this scene several times!
And they recorded

where I laugh to myself! Incredible!
- Here. It’s forbidden these days

Take aerial photographs of Versailles.
These are archive recordings.

Christophe Gans can do that in others
Explain audio comment better.

If you want to see the other
comment with Christophe Gans.

I think they bought these
pictures and all the cars, people

and erased everything else so that it
Doesn't look anachronistic.

Wow!

Smoke!
- The red wolf!

Bernard Fresson.

And close-ups.
- Yes, I often think about this recording.

I like you very much.

Wide-angle shots for the castle
and close-ups for the actors.

Incredible. No shots that...
- A very nice background shot.

And of course an airplane
every 10 minutes.

Did you resynchronize everything?
- No I do not think so.

The sun blinded me.
- Come on, open your eyes!

Not possible, they are already very open.
- Yes, a little bit.

No, I can't.

Ok, then I look at the earth
then you don't see it anymore

Ah yes, here. In the theatrical
version you didn't quite understand

why suddenly you are back in
Gevaudan is. That was too bad.

Something was cut out.
- Yes, now I can, too

look at the scene with the ships.
- You don't know them? It is great!

I haven't seen an entire coil.
- It looks like in HOOK

by Steven Spielberg.
- Filmed in 1996.

Pardon, that was in 1995.

At Christophe Gans you shouldn't
joke about films and data...

Oh, the polystyrene roots.

And all the farmers
which are then eaten

are always blonde and personable.

Like the sister of
Jean-Francois de Morangias.

Not as blonde as Emilie.
Well, yes. A bit like Emilie.

And here the goat runs.

The roots are not real
that can be impossible.

It's all from the second team.

Everything from the second team?
- Yes. They were incredible.

In the 2nd team we had 3 directors.
- This is on Bill's account.

I love that! These pictures in
I always find slow motion totally awesome.

We see the beast for the first time!
It is the first time.

It's really weird!
You’re much more afraid of the beast,

if you don’t see them.
You have seen something like this many times.

As in JAWS.
- Yes, exactly, funny.

This scene wasn't in the
theatrical version either.

So this is...

Because of this scene you understand
why you are returning to Gevaudan.

And why she can forgive you
why she is glad that you are there

It's a shame that the long version
is not shown in the cinemas.

That is still to come.
- I heard in July.

But then I didn't hear from it anymore.
- Maybe in November with the DVD.

Maybe.

Well, don't worry.

I would have loved to see her in the cinema.
- I was there. That was great.

I would have loved to see everything.

Sardis...

These are nice shots,
the sequence was definitely difficult!

Now comes the scene with the ship!
- For the overall harmony of the film.

Incredible, everything was cut.
- Well, but anyway...

Where did you shoot it In England?
- Yes.

You went there twice because
of bad weather to shoot.

Not for this, it went smoothly.
That was the day after that we should

shoot the last scene of the film.
On the schooner with Emilie.

We had problems with the storm.

I laugh because during the
Filming has happened several times.

Yes I think the same!
- The first scenes in the mountains

and also in the Perigord,
WHERE we play in the mud.

Good.

Good movie, isn't it?

Mani who says so again.

That was really the end of the
shooting for you, wasn't it?

Here?
- Yes.

No. No, there was a month
or a half left, I think.

Here you are at the same again
Place as before.

The white wolf,
the Sergio Leone music...

and the cowboys.

I think they really wanted to
Gevaudan turn and drive there too,

but it was visually unappealing there.
There was really nothing going on.

The audience now thinks: Let's
go to Gevaudan, it's nice!

But you will be disappointed
because we are here in the Pyrenees.

Well, here.
We really ran around there.

Very small points.
It was great with the horses that day.

Eieiel! A shame!

The actor really suffered!
- You can see that in the making-of, right?

Such an injustice.
- Yes, that's in the making-of.

The horse farted all the time!
Incredible this horse!

Lm when i spoke
it was quiet.

I think it was scared.

Mario Luraschi's assistants said:
No, he's just a little nervous.

But this horse only farted
if other people

were involved in a scene!
And gave my answer!

It was so disgusting!
- And your partner is then

apparently getting angry.
- I think he suffered a lot.

The arrival at the house.

That's incredible.
That is the magic of cinema.

The outside shoot took place in the
Pyrenees instead.

And when I enter the house
we are suddenly in Paris,

in a studio!

Of course, because the house
should be totally smashed.

You could only do that in the studio.

Here you can really see the
beast for the first time.

Now outside again.
- We need a storyboard for this.

I like to believe you.
- You just kept trying

understand what we were shooting
and why we were shooting it.

Have you ever opened a golf ball?
- I beg your pardon?

Have you ever opened a golf ball?
That little white ball.

And then is there only air?
- Not at all. It's in there

small plastic bag with clay and
all around there are rubber bands,

tied very closely together.
It looks really tight.

The beast are the same:
As if she had lots of rubber bands all around.

It was all shot without the beast.
You had nothing but

only a blue screen now and then.

And when we... here for example!

You really needed imagination!
Here: The assistant director stood in front of me

with a wooden stick and that
mimicked the movements of the beast.

Incredible! You feel totally
ridiculous in these scenes!

I have them all the time
Beast never seen once!

It was my beast!
- How she takes the house apart!

Previously you had computer animated
Representations and now...

Here! That is animatronics.
The beast was 2 m tall

and was through
Compressed air pipelines move.

For me there is a lion in there.
- Or a lioness.

Or a lioness. I was always sure
that the lion cub tore off his arm.

But for me it's a lion.

I like that very much.
And the music theme of the beast.

I like that too. It's a bit like
music for children. Very pretty.

And this little thing here.

That's not me.

I think it's little... resistance.

That was weird! They said they had
Time problems with the pumpkin explosions.

So you saw throughout
Shooting these pumpkin types.

So you had the pumpkins and
these guys were there every day

who said: if it gets sunny,
you can turn the pumpkin scene.

But the scene was already in the box!
And they wanted the explosions.

Oh yes, the impacts.
- You should shoot in the same area.

And in the same season,
with the same light outside.

Oh, these little ones
flying petals.

Christophe had asked about it.

He always wanted small,
white, flying petals.

A bit like in the manga.
- Yes.

And you really shot there?
- You're welcome?

Did you really shoot?
- No.

Not even with...
- The guns weren't loaded.

Not even with the crossbow?
- With the crossbow we have...

No, you didn't shoot.
- In the hay bundle. Yes.

That was something. His gestures...

The ax also flew in hay bundles,
I think because it was very heavy.

About 30 kg, really very heavy!

Even Ralf Meyer...
No, Hans Meyer! He had something!

His last scene. That was too bad.
- He looks like me, just old.

Yes, the nose.
- no? The face shape and so...

Jeremie had problems with his horse.
- It was cruel.

His horse was super nervous.

We weren't.

I like this little guitar
piece during slow motion.

Sometimes synchronization
really makes sense.

This shot with the thighs,
sometimes that's really stupid.

That was in a planting for
Mushrooms added to Paris.

All of this here.
- You were really long there.

It was funny because it was June.

And in June we either worked
at night or filmed the fights.

Yes, I remember it.
- In the church or in this plantation.

Almost a year ago?
- Yes. Yes, almost a year ago.

I was in this scene.
- Was that your hand?

Yes. I wanted to be there.

I knew
that a double would not be a problem.

And then...

Christophe told me something.

The scene with the death dance...
I don't know what it's called...

Where he eats this mushroom with the drug
so that he...

Actually it should be in the movie
so that you can see your visions.

The scene was replaced by something
that's ok. He told me,

what he wanted to do. But it was too expensive!
- It cost too much, exactly.

I don't know how much anymore
but the cost was huge.

It would have taken time and all.
And with the cut...

But after the first
demonstration, I asked myself:

Why didn't he use the time
to add something else

that shows the baroque sides of the film.
But it was a question of budget.

The storyboard was
already ready for this.

That's a bit of history with...
The dark side of your character.

With the French
wars in New France.

In the Nouvelle France.
Against the Indians and the English.

Yes, you didn't just do good.
You are not exactly innocent!

That is the kind of Fronsac.

This is also a recording where...
All women mention this shot,

every time they talk about Mark,
when we do our doctorate.

In the province or abroad,
each time they ask:

Isn't he there?

Again with a real mohawk mask.

Oh, with the makeup?

You will see. Masks...

Traditional make-up.

Mark is actually not an Indian!
I think he's Hawalian.

It is a lot.
- Greek.

Chinese.

And Americans!

Here he should have had the vision
where the forest suddenly becomes fluid

and the trees start to flow.

And Mark Dacascos was shredded.
Body and blood were mixed.

There was quite a bit,
but that would have cost 3 million francs.

Then they said: ok, don't worry
let's just do something smaller.

Right. Sometimes you write things in
the script, e.g. B. A burning house.

And finally you say:
Let's close the shutters!

It doesn't cost that much!

Everything has been redecorated here.
Incredible! We are outside

and it looks like in the studio.

They added trees
Tree trunks, moss and grass.

All exotic things on earth.
A little here, a little there...

It is not like that at all in Gevaudan.

You can also see a palm tree here.
- Which falls on Mark Dacascos?

You saw them, just for a moment.
Maybe you'll see them again.

And handmade moss!

Stone for stone, everything was brushed.

So "rolling stone".

Get one in the leg!

And now the fight is coming!
- All without the beast, of course.

Here you can see the palm trees, top right.
- upstairs?

Yes, you can see them.

I was a little tired then.
I nudge Jeremie as I jump to the side.

Here I hurt my head.
I hit the wall.

It was also difficult for Jeremie
he was sitting on some kind of skateboard.

That was in England, wasn't it?
- Jeremie was pulled.

He was lying on a skateboard.

Here comes a great jump.

Have you seen? The beast bit
Jeremie in the right arm.

But later you see
that he wears the left one in the bandage.

But... is that really that bad?

I'm a little sorry that
I added "come" here.

"It doesn't matter, come!"
And I ask myself,

whether I said it in all the recordings.
I thought there must be one

where I don't say "it doesn't matter, come!
We will get this somehow."

I do not know either,
why I said that!

I would like to have dubbed that.

After the "come" you would still have
have to say "already".

And again the mushroom planting.

Too bad Mark is not there
to tell about his struggles.

Nobody can do it better than him.
- This fight was extremely difficult

because of the torches.

They had to stop every 20 minutes.
- To breathe?

Yes, so that air can get into the grotto.
They had opened everything.

Then they could start again.
And Dan needed it too

for his lenses.
The smoke changed the light.

Really crazy! 50 people in there
who have worked.

And with masks!
- Everyone had masks!

There are very short slow motion
do you see?

It always has a super good effect.

And that's the immoral
Scene of the film!

You can kill shepherds
but not Manı!

It only happens once!

Here comes a reverse kick,
that Herroin got in the face.

Daniel Herroin.

Butterfly-kick.

Here, the reverse step... no.

That was the punch,
the kick comes a little later.

Now you see
He didn't get it.

Did he tell you?
- Yes, he was pretty angry.

The people fighting Mani here
are all pretty famous in Paris.

Sometimes they are real fighters,
but sometimes also stuntmen.

They are all of a very high standard.
Philip Kwok chose it.

I should actually be seen
shooting with the gun.

With the coconut on my head and all.
The movement should be the same

that I had made
when I finished the fight.

But that was too much. You would have
known too quickly that it was me.

That's why they were cut.
But I was there. Without coconut.

In my opinion,
you really threw someone down there.

This is really a good stuntman.
The guy looks like Mani, incredible.

Not his face...
- The physiognomy.

His muscles.

And then he's dead.

Mark was finished a long time ago.
He made a film in Hong Kong.

He had a double for something like that.
I don't remember what it was called.

What was the name of the guy?

Jean-Jacques!
- Yes, but how does Jean-Jacques?

Yes, his name was Jean-Jacques, exactly.
- So Mark was on that shot

not at all? Incredible.
I did not know that.

When I discover him
I discover Jean-Jacques.

Here you can still discover
Jean-Jacques? - I agree.

Jean-Jacques was very heavily made up,
so that you can't recognize him.

And completely covered in dust.

There you cry, but with Jean-Jacques
in front of you. These pigs!

They killed Jean-Jacques!

That scream. There was also a moment
where I have my hands like this and...

I had real problems that day.
I just cried all the time.

Finally,
I thought of some things.

At first I thought about history
and then about my private life.

And in the end I thought of things
that happened to me when I was 2.

Then I found one of my testicles.
- Put a finger in your eye!

It was really like
psychoanalysis.

This is not Jean-Jacques, shit!
- No, exactly, it's Mark here.

I was sure of that!

Oh, and here's the bullet.

I thought this:
When you saw the silver ball

there was no doubt
because I talked about it at the beginning.

The audience cannot necessarily see
that it's a silver ball.

You still saw the ball.
- It should have been a golden ball

that would have been clearer. It would be yellow.
- Because afterwards they absolutely wanted

that we still have the thing...
That I ask you in the fight:

How did you know
- But you draw your crimes

but always with a silver ball.
Haha! And then...

Tabernacle!

I didn't really want to say it
but I said to Christophe:

Stop the silver balls!
But then they said:

As with Capitaine Crochet.
- But in the end it was there!

Here I am the Indian
I am Manı...

And then of course I'm invincible.
- You have never actually seen

how Fronsac is fighting.
- That was all cut out!

Therefore, the impression arises
this guy would be a salon lion.

From the beginning he acts like this, only
occasionally you can see his feet in the mud.

And here you suddenly discover...

You discover
that Mani dances in pubs!

A little after party.
The after parties of that time.

You really thought about it
whether it should be doubled here!

Incredible! She dances so well!
- They didn't know that yet.

What? It has almost no text!
Why should you double them?

Virginie Darmon.

She is not Gerard Darmon's daughter.

That's not me,
that was a stuntman.

And what does he do?
- Thierry Saelens, that's his name!

He was my double for all of these things.
With the 2nd team.

Yes exactly.

He was always there during the fights.

In the end,
the two of us were shot.

He could do archery very well!
There is a recording at the beginning

where you see him. He shoots through
into a bar between two horses!

It is, isn't it?
- Yes, that is him. Unbelievable, is not it?

And here too?
- Yes / Yes.

That disappoints me.
- Well.

So many women here said:
Wow, Samuel!

But no, it's Thierry Saelens!
06,629,230th

He's doing it really well.
- Yes. It's just better

to have a good double as an asshole.
- Yes. This is me!

Here also.
- But in battle it is you.

Yes, I am in all fights.
I did that with Thierry too

but somehow it worked.
He was there for an emergency.

There was only one kick
with which Christophe was not satisfied.

That happened to me too.
- He wasn't happy with it.

Kind of like Terminator.

He is admitted!

And printed...

Here is beaten violently.
You never saw Fronsac like this!

His friend was killed.
Therefore.

That was difficult. Very close...
- He is physically incredible. - Cyrille.

Cyrillle does incredible things.
- Here, the knife out and...

And you knocked him off!

It is very quick.
And Fronsac beats! - Yes.

The women.

Mani died because of them
and here you can see the difference

between Mani and Fronsac.
Fronsac beats women! - I agree!

Not a bit gallant!

And here is my room.
- But that pulls there!

You can see your collection.

These are the posters...

No Panini figures.

Your unicorn sword.
- Yes, I was about to say it.

Like a pterodactyl,
with a spine.

I like the screams in the background.
The chandelier is fine!

Yes, he has a problem.

There were also a lot of elephant feet.
You don't see them.

You had so many props!
Big elephant feet too.

Back then they were the big trend
they were used as a wastebasket.

The elephants were killed and
their feet ended up as...

Waste paper bin.

There were so many cool things!
Loud glasses with strange things in it!

And once you see a little one
Monkeys, but as a fetus.

This scene was shot months before
since we're in the planting again.

The war paint.

That was dick! He was awesome, look!

He was always fun in the back.
He copied my movements

just the other way around and faster and faster.
I turned to the right

and he left.

Daniel Herroin's end.

Yes, I kill Daniel Herroin.

He wore his hair very short on the sides.
I haven't seen that.

He looks like an Ilroquois.
The shoot took several months

and he ran around in Paris
looking like an Ilroquois.

That was my first shot in the film.

First scene, first day of shooting.

So this is Jean-Jacques
the stuntman. No, it's just fun!

The guy is really strong.

You look really tired here.
Was it recorded that way?

Looks like it's early in the morning.

I played that extra!
Like Laurence Olivier, who sits down

in the MARATHON MAN, you know?

I sat down, thought "It's morning!",
Got up and looked like this.

No, no, that's all made up.
Thank you!

Thanks to the technology of the cinema.
- Frederic?

No, my name was Didier.
- Didier, of course.

We recorded this
scene several times,

where I fall directly into the fire

I always wondered about the ashes.
It falls to the ground

and later you scatter them over the sea.
- Oh no!

Do you think
isn't that really mani's ashes?

This is the singer of the Garcons Bouchers.

What's his name? Hadji Lazaro, right?

And this recording again,
that was shot in winter.

The first one you played in.
- Yes. It was actually a day

of the fire or a day after.

We recorded it several times
and you just didn't understand anything.

Monica was really scared that day.
- Yes, we wanted to know what was going on.

Christophe said nothing at all.
And then he realized

that we somehow needed fabric.
But in the beginning he didn't say anything

he was behind the technicians and...
He couldn't understand

which is why I asked him questions.
He said I know my job

and should know everything.
I shouldn't be asking him any questions.

You have to calm down actors.
- Yes. Sometimes I ask myself

about the axes or how he turned
to be able to play better.

It is a matter of adjustment.
It depends on the people.

But we all had problems,
which is why we recorded so much that day.

We had to learn to communicate with
each other. You have to find out.

Yes, it was complicated with
the light and the movements.

There were different camera movements.

Here, everything is reversed.

Did she resynchronize that?
- Yes I think so.

Everything was re-synchronized.

What an asshole.
- Yes unbelievable.

Really a bad guy.
- But he's great in life.

Yes, you should... I don't know...
Emilie's costume.

Velvet from Bordeaux.
- Dominique Borg! Let's talk about them!

She really did something
incredible with the costumes.

She collected lace in Italy
sometimes velvet in... the former GDR...

It was always like this... in Austria!
She always had to look for something somewhere.

She got buttons from England...

My coconut costume,
that I wore earlier...

Listen well now!
It was Robert de Niro's coat

from FRANKENSTEIN! I agree! Yes!
I was wearing Robert's coat!

If you look right,
you can recognize him.

How did they do it with
the wax on your face?

Did you make a mask?
- No, the wax directly on the face.

A very dangerous job. Really.
And that didn't burn at all,

I had trained...
Actually it burned!

This is the first scene in which you
can see me! My first scene in the film.

I still remember it.
I came from the RMERES POURPRES

and shot this shot.
Then I went back and thought:

Now they started with me
they can no longer replace me!

There's a lot of improvisation here.

He brought a lot into the scene.

His smile.
- His grin.

And me.

What and me?

I'm dead.
- You are dead? Ok, then it's my turn!

Exactly, I'm taking a little break now.
I have nothing more to say.

Here the environment was artificially
built. Ok, I think that's...

It is outside Everything was set up.

People were running around
with the trees while filming.

And so I was...

This is the sequence...

In this sequence I suddenly
found my role really interesting.

In the first version that Christophe
gave me, this sequence was supposed to be

actually not be there.
This arm thing, you know?

He was not a one-armed man.
There was no hidden thing.

And no disgrace to the sister.
He was just such a noble

with a big mouth. And in the end you
realized that he was the bad guy.

So I didn't want to play at first.
Somehow I was missing something.

The reasons for his actions
that he does everything out of love.

And that the real bad guy is
actually Sardis and not him.

I think that's pretty good.
But what a crazy family!

And here...

Really terrible. And here! Tata!
He understood

that you want to do something to your love.

This sequence here...
It's really funny because...

I really like this sequence.

There is something very
strange to play here.

Logically, I was confused at first,
because I couldn't understand

what Christophe actually did.
We didn’t shoot them completely,

but in several cuts.
We kind of had problems with it.

I always had the impression
everything that was important what I said...

And the camera was always behind me!

So I started scolding!
And then I noticed

that there was no problem with the camera.
But suddenly, on that day,

I really needed Christophe.
He really had to be there for me

because it was a difficult scene for
me and I wanted to do it well, really!

He shouldn't stay behind the
camera, but stand in front of us.

All of this has been dubbed.
I think it's a good thing

because I finally
spoke a little quieter.

And I noticed that when you shoot
everything is ok, everything is moving,

Your use is fine, but all this
technology and the stress all around!

Then the voice seems a little louder
for me. And if I re-synchronize

I can dampen the voice a little
and then it works better.

I thought my hair was completely
covering me, it really annoyed me!

But then I saw the result.

I don't know if people get
the arm thing really quickly.

The corset you see here
worked.

I could play with that.

You could film that.
But I couldn't really hide my arm.

But it was nice. It was made of
the same fabric as the beast.

The other one that I used to wear
was not that modern.

With rubber bands and such.
But it hid the arm very well!

For the preparation of the arm
- apply and make up -

I always needed 3-4 hours.

And then another two hours
to take it off again.

So in the fights it
always took a long time

if I e.g. B. At 6 a.m.
It took 2 hours to lose weight.

And the shooting for the
final fight lasted two weeks!

There was no end.

That wig!
- Michel Polnareff!

Yes, I just couldn't do it anymore!
The arm, the wig, all of that!

That was a lot of tricks, really!
If I wasn't careful

no longer stuck the fingernails!

There was a moment while filming
then everything became more and more intense.

I became clearer, clearer.

I had touched Emilie's stomach and
Christophe laughed himself dead

behind the camera and then he said
No, that's too much!

But I... Here, for example, how I
pick up the knife with my fingertips.

I had to do it
otherwise the fingernails will fall off.

It also looks kind
of like a witch.

Did he rape her or not?

So... I'm telling you the truth:
Yes.

I remember that day well.
Then they said:

OK! All bad guys wear a wig!
But when I saw the wigs

I said: I don't!

I didn't believe in
these wigs at all!

You look good, but you have
something from... Mylene Farmer.

What is the song called again? Libertine.

I am a libertine, a whore...
- Yes, I've thought about that a lot.

Didn't you even think about it?
- Yes, more often during the shooting.

To LIBERTINE.
- We always had it in mind

but that's normal too.
- Don't say that to Cristophe.

Because he thought that he had
something from Laurent Boutonnat.

No. That was because of the costume.

For me there is...
There is this film really...

For me the film suddenly goes there.
You're suddenly...

Here you are in another dimension.
- Right. Everything is dropped.

Prejudices... It starts!
- And it is fun!

The very fact that you are
being reborn is insane!

Before that there was an explanation
a little sentence about the poison.

This pseudo-poison. Here, andiamo!
They say what... Tock, tock, I'm here.

I've found,
that people only 30% of what

understand what you're saying.

Yes, that... Here! That's not me!
- That's insane!

Here you take things off. So!
Attention! It starts!

We shot hundreds of shots so the
swords were completely identical!

I remember. Madness.
Here, the great Farandole! Now! Come on!

Hopp, a very well done...
- And here.

It was very close to Nicky, wasn't it?
- Oh yeah!

This is really awesome.

This speed!
What surprised me was...

I really got the impression
of rowing when I did that.

Here. I am very surprised to see
that it looks so fluid.

You killed a woman!
- Yes, the second. And here I kick it!

Insane! Nicky coming back.
It was very quick with Nicky, wasn't it?

Yes, his footwork is really good.
- I had to get there!

A little break dance.
A small hip-hop insert.

Turn around!

And here you will scalp it.
A souvenir of mani!

It continues here.
- Here I am with...

As for Monica, there...
And Virginie.

At this point in the film,
when things develop

that's so... so different.
The people who don't follow are here.

Some people told me they were
amazed that they had to laugh here.

I have to laugh too!
I find that very fun and super fun.

In this direction...
With so much joy.

When you kill Virginie here
gave the audience in the cinemas,

I visited, applause!
- Yes, I saw that too!

They were happy.
- Yes, but I thought it was strange

because I loved Virginie. That comes,
because Mani died because of her!

That's it, do you think?
- What else? The audience loved Mani!

Monica doing kung fu! This is...
Really, look closely, I think...

Not so quickly.

Here, this is my little one...

And the...

This is... Marvel Comics.

This counter-speech, which despite everything...
- Whispered.

A little juggling.
I really worked on that

because the other didn't speak to me.

Do you remember?
We fought on this axis.

And suddenly we didn't have time
turn the fight on the other!

And I was mad
because it affected my side!

Not really.
- Yes, we did it again!

I was there, I...

I... there are parts of the fight at...
in one axis after...

There! It is digital! Madness!

One part is doubled, nevertheless...
- However, it was very ungrateful

to cut the film
if it was digital.

All these cuts with the stunts...
- Yes. But that's us, isn't it?

Right! And your sword is broken!
- But we didn't hurt ourselves.

You learn step by step.

Here is a small sentence.
- Yes.

How did you find out?

A silver ball!

A series of kicks...
- My goat thing!

And a somersault!
I only half succeeded before.

I also had difficulties here
Coordinate sabers and kicks.

Yes, but it's not that fast.
- You can't see that!

I'm actually pretty stiff!
- The famous jump on the tree!

And here are some roles.

Everything crashes here
there we are doubled.

We shouldn't hurt ourselves.
- That was close, these things...

Weigh 40 kg!
- Yes, 40 or 50 kg!

One thing almost fell on our heads.
Here he gets it off his shoulder.

Thierry Saelens. He got hurt.
- We are both here again.

A little catch.

The so-called
Raspberry milkshake scene.

This effect works quite well.
The blade that comes from the back

that is mechanical.
- This is not the hand.

These are small cables. Aluminum foil.
- But here! I'm proud of it!

There was this little
thing underground,

but you had to lay flat on it
Back fall. It was impressive.

The milkshake?
- Yes, the raspberry milkshake.

He finally comes to rest when he...
put his hand in the butt!

This is where Duhamel gets his revenge!
- Hey, Jamel!

The only scene with Monica and me!

She doesn't manage to give me the knife...
It hurt me.

She pierced my heart
with the knife.

She has a different eye color again.
- Yes, she's wearing contact lenses again.

That's incredible. You do not know,
why, you think there is something strange.

As for the fight
do I remember one thing

I learned from this film:
You can't believe

that what is asked of you
is always the best.

If you have an idea
you really have to assert yourself.

If you don't, time goes by
and you're fooled afterwards.

So you have to take it in hand.
What I also learned is:

Insert yourself into this big machinery
to be able to work with people.

Don't take anything
which is not well presented.

But do you find something good
you have to introduce it to your partners,

so that they accept it.
So you take part in the production.

So:
He's the real bad guy in the movie.

Where was it filmed?
I think in Fontenainebleau.

Really when you look
do you think it's Fontainebleau.

Yes, and the rain...
- The famous rain,

it was not easy to make.
That was the shower...

There must be very thick raindrops
so that it can be seen on the screen

so it's interesting.
A little rain doesn't help.

It has to be a big storm,
not a tiny one from Brittany.

And again in the Pyrenees.

You took a shower and combed
again and everything...

But that was incredible
we didn't know why,

but we couldn't shoot the scene!
We just laughed ourselves dead!

Ah yes! Here he is pretty annoyed.
- Well, you know...

He cannot digest the rape.

The rain washed him nicely.
- I agree! And you had enough time

to tie you a pretty braid!
- He had some soap in his pocket.

In his Indian costume he had a
small bag with Savon de Marseille.

Kind of like Roger Moore here.
The guy is never tired and always clean!

To play this
that was really hell!

Difficult camera work,
the movements of my hands

I should open my bracelet
to instill the liquid in Emilie.

These were very uncomfortable movements.

The axes here are very precise.

Understand.
- That was something...

But the camera is good!
- But of course you can't see it.

I just think this is awesome!
From the beginning, you know

This transition from Jeremie to Perrin.
I think they even see each other here

a bit similar. Incredible!
You get a completely different perspective,

especially from Jeremie,
when I think about it now

The landscape was created entirely
artificially here. Wonderful.

He really looks like an old Jeremiah!
- Yes! I always get goosebumps there !!

This is the moment in the movie
that moves me the most

The camera was guided
here by computer.

He has a real poet's voice here.
- Do you know that guy

Z produced by Costa Gavras?
He was only 30 or so then.

You don’t notice it,
but the end is really, really long,

because every scene is explained very well.
- Here you can see the death of the beast.

That's incredible.
- He wanted an end for every character.

You have to look closely. He hasn't
forgotten anyone. Sardis has come to an end

Monica has her end...
- I think...

Virginie has her end...
- What touched me most in the film...

It looks like a hero epic.

Chastel with the
beast also has an end.

Jean-Pierre Chastel.

Why Jean-Pierre Jean-Pierre Chastel.

With Vincent Chastel in the role of...
- Jean-Pierre Chastel!

That was filmed in London.

He doesn't look happy.

He does not like it,
if you hurt animals.

This is totally awesome! I think,
the animatronics look really good!

27 engines. You don’t know why,
but it looks really alive.

But it is also dangerous!
Because at the moment

when I put my hand in
the robot's mouth...

he suddenly closes his mouth!

The tongue too, that's incredible!
- Yes, and it's really strong!

Yes, the mouth suddenly closes
and the bracelet stays in.

I just got my hand out
but I could already feel my teeth!

You can really be bitten.
- For real?

But this is...

I don't know why he didn't
want to say it was a lion.

The mushroom planting...

Salute, Beast of Gevaudan...

His voice to Jeremie's face...
It works well.

I, Thomas d'Apcher...

And here...

it should be the shepherdess'
daughter who was saved thanks to Mani.

The daughter,
which he held in his arms.

And this close-up here...

Here. It is really incredible.

It looks like an
American production.

Here we could finally turn
off the scene on the schooner.

In bright and clear weather!

With...
- We were in Brittany,

No longer in England. The ship was
constantly on the move and you had to

somehow always find
to turn the scene off.

It could have been Toulon.
But Brittany was awesome.

This is Mani's ashes.

There are English ships
which are only for films.

You can also borrow them for
television or for the United States...

All over the world...
The crew consists of young people

20 years old or something,
they take care of the schooner

and spend the whole year on it.
You work and have fun doing it.

You sail with ancient
Rigging and they work too.

So Manı is dead.

It's actually not that cool.

And the end credits, with the names
of the actors. At the very end.

A small helicopter shot.
- Were you on the night boat?

You weren't on it, were you?

Yes, yes.
- Don't tell anything.

We were on it, but only in the end,
because of the helicopter recordings.

You never knew...
I would have liked it

if you had seen all the sails.
The very top. But that was not possible.

Well, so...

Six months of shooting. - Six?
Well, six and a half or seven.

Plus the preparations...
A year of my life!

We have just seen
a year of my life!

I did all of this in one year!
- A year ago everything was ready.

Until the moment they showed it
in the room on the Champs Elysees,

as a preview.

Good...

So thanks...
- Good night, little ones.

The sandman was just there.

Teddy...
- Until tomorrow.

Good night, little ones.
- At the same time.

Samuel Le Bihan and
Vincent "Crochon" de la Casselleraie

wish you a nice evening.
- And enjoy your meal!