AI is CANCELLED! This Director’s SHOCKING Move!

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For renowned French animator Sylvain Chomet (known for “The Triplets of Belleville” and “The Illusionist”), storytelling has often revolved around the realm where quietness meets melody. As he explains, “A significant part of my work thus far has been devoted to silent films; I’ve mainly focused on visual narrative rather than dialogue.

For his latest venture, renowned animator Chomet is resurrecting one of the most significant figures in cinema, Marcel Pagnol, through an animated biopic titled “A Magnificent Life“. This production will be distributed by Sony Pictures Classics within the United States. In essence, Chomet breathes life back into the legendary voice of this esteemed filmmaker.

Marcel Pagnol significantly influenced the world of cinema by introducing literary depth, authenticity, and realism into dialogue during the early sound era, a time when many producers were apprehensive about spoken words on screen. He dared to have his actors speak in the broad Marseille dialect native to his hometown, an unconventional choice at the time. Pagnol redefined European cinema by taking filming outdoors and paved the way for movements like Italian neorealism and the Nouvelle Vague. His proposal of taxing profits from American films and investing the earnings into local productions resulted in the establishment of France’s film board, the CNC, laying the groundwork for a thriving and competitive national industry that remains relevant today.

Prior to the Saturday premiere of “A Magnificent Life” at the Cannes Film Festival, Chomet conversed with The Hollywood Reporter regarding Pagnol’s enduring influence, the complexities of dialogue and translation, and the potential thoughts of the late maestro on Trump’s tariff proposals.

When did you first discover Marcel Pagnol’s work?

During my childhood at school, though I can’t recall the exact year, I was around ten or eleven years old. As part of our regular coursework, we studied “My Father’s Glory” and “My Mother’s Castle.” It appears these books are no longer part of the curriculum today, which I find regrettable. Truth be told, reading wasn’t my cup of tea back then; instead, I preferred visual arts like drawing or enjoyed watching movies and reading comics. However, when I came across a small book by Pagnol, I found myself captivated beyond words.

His writing is enchanting, possessing a powerful yet crystal-clear style. It’s reminiscent of Mozart; despite appearing effortless, simple, it carries such clarity that it captivates. This book has won my heart, leaving me yearning for more… Later on, I found out he was the author and director of the timeless 1931 French comedy classic Marius, which added a sense of familiarity to his work.

The writing is magical, boasting a robust yet lucid style that echoes Mozart’s music—it seems effortless, straightforward, but it resonates with such clarity. I became enamored with this book and found myself longing for more… Later on, I discovered he was the one behind the iconic 1931 French comedy Marius, which brought a sense of familiarity to his work.

Did his work directly inspire you as a filmmaker?

I’m not entirely convinced about that statement. After all, most of his work consisted of silent films, so there weren’t many chances for him to create talkies. The Triplets of Belleville and The Illusionist were indeed silent masterpieces, but I can’t say for certain if they sparked my desire to make films or influenced me in a profound way. It seems more like his style has become an integral part of who I am. Only when I reflect upon it later do I fully appreciate the brilliance of his storytelling and how deeply it has impacted me.

How did the idea for a biopic come about?

When I encountered Nicolas Pagnol, the grandson of Marcel Pagnol, he was accompanied by producer Charlène Poirier and his spouse Valérie. They proposed that I create a documentary about Marcel Pagnol, an opportunity I found intriguing since I hadn’t tackled such a project before. Inspired, I penned a documentary using existing archival materials.

It seems to me they were subtly pushing me towards creating an animated film. They began requesting minor animation tasks as stand-ins for story elements lacking archival material. Upon presenting these short animations, they responded positively, saying “This is exactly what the audience desires.

I discarded everything old and crafted an animated biography instead, utilizing archival material. Nicola had access to a wealth of materials from his grandfather, including unpublished texts and poems that hadn’t been viewed by anyone else. The script is written in Pagnol’s distinctive style. We incorporated clips from his films alongside the animation, a technique I’ve employed before in my own work. There’s even a clip from an unreleased film thought to be lost, but recently discovered and included in ours – it’s never been publicly shown before.

Was Pagnol a pioneer in technology, always ahead of his time? If he were still with us, would he be welcoming artificial intelligence into the world?

He held a deep affection for technology, exhibiting an engineer’s knack – deft with manual tasks, crafting miniature devices. However, I have my doubts about his compatibility with tools designed to surpass human intelligence. I suspect he would have recoiled at the notion of employing AI for voice reproduction. For him, dialogue and dialects carried immense significance. I share this sentiment – we should be equally apprehensive.

In my line of work, I create animations, but the methods have evolved – I no longer use paper, instead, I work on a computer screen. Yet, the essence remains the same; everything is still hand-drawn or painted using digital tools. The nature of my job hasn’t significantly changed from what Walt Disney was doing in the 1950s. We artists still rely heavily on our hands to create. However, I’ve been experimenting with AI for development, but I find it falls short of my expectations. In truth, I’d rather pick up a pencil and sketch out my ideas the traditional way.

I’m not intimidated by AI. If someone believes they require a higher power for creativity, then so be it. However, I struggle to understand the pleasure derived from creation when one requires assistance from a superior being. I can’t fathom the joy in creating that way. Creation, in my opinion, ought to embody joy.

You directed both French and English versions of the film. How did you handle the differences?

Initially, there were minor adjustments made to the storyline. Originally, Pagnol was portrayed as an English teacher. However, for a more coherent narrative within an English-speaking movie context, his character has been redefined as a Latin teacher, given that he was also proficient in this subject matter.

The primary hurdle we faced was replicating accents authentically. For Parisians, we opted for Cockney speech, but struggled to find an English equivalent for the Marseille accent. Attempting to speak English with a Marseille accent resulted in sounds more akin to Italian. It was quite peculiar. We required a language that shared the same melodious quality as the Marseille accent does. The first thought that came to mind was Welsh, due to their distinctive singing tone. Surprisingly, it proved effective.

What impact do you think Pagnol had on cinema?

In his dialogue-crafting, he pioneered an innovative style that significantly influenced both Italian neorealism and the Nouvelle Vague. He was among the trailblazers who dared to capture films not within the confines of a studio, but out in the real world instead. The groundbreaking opening scene of Fanny (1932), featuring Orane Demazis strolling through Marseille’s streets from the back of a covertly mounted camera in the trunk of a car, served as a precursor for the Nouvelle Vague filmmakers to venture outside with their cameras.

How might Pagnol react to Trump’s proposal for a tariff on foreign films, given his initiative of imposing a tax on American movies in France? Let’s imagine his perspective.

Indeed, that’s intriguing. Jean Giono, in fact, proposed the idea of imposing a tariff on American films. Contrary to popular belief, he wasn’t a nationalist, but rather an advocate for global understanding. However, he recognized the immense influence and power of cinema, and was concerned about its potential impact.

He recalled that he witnessed the Nazis utilizing cinema as a tool. The Nazis had even attempted to recruit him to create a European cinema, effectively a propaganda machine for their ideology. Post-war, he found France in disarray and Hollywood producing impactful, transformative films – color movies, wide-screen films. He understood that if the French film industry didn’t find a means to keep producing native French films, American movies would flood the cinemas, eventually dominating them entirely.

He refused to restrict American films, as we’re not like Russia. Instead, he opted to impose taxes on the profits made by American movies and use that revenue to support French films financially. In essence, he established the CNC, which was unique at the time, and this may be why French cinema remains robust today.

What’s next for you, another dialogue-packed feature?

Absolutely! For my upcoming movie, I’m going for a silent film approach once more. This time, it’s a spin-off from “The Triplets of Belleville,” but instead of bicycles, there will be a feline character in the spotlight. The story revolves more around the triplets, particularly the tall and imposing ones. There will be an abundance of music, but no spoken dialogue.

I’ll be commencing the creation of storyboards within the next month or so, and we’re planning to use the same team that worked with us on Pagnol. I penned this tale concurrently with Triplets, a quarter of a century ago, keeping it fresh in my early thoughts. It’s utterly bizarre, returning to our roots.

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2025-05-17 13:25