Filmmakers Marc Caro and Jean-Pierre Jeunet, eternal associates

Photo: Collection Nathalie Tissier
“Storyboard” of Caro for “The city of lost children” and polaroids of makeup Nathalie Tissier

Caro and Jeunet, the authors of the jewish Delicatessen, a genuine bomb visual output in 1991, the two are inseparable. They are at the cinema that Uderzo and Goscinny are to the comics, what Plamondon and Berger in the musical : one pair at the head of the most beautiful adventures.


For many, Marc Caro and Jean-Pierre Jeunet will not be always only one, that the exhibition Caro/Jeunet’s centre of art brut, paris, Halle Saint Pierre has with fingering. The duo have signed two feature films, and none since The city of lost children (1995), the experimental museum of Montmartre makes them inseparable.


Joint at his home in Nantes, a few weeks after the opening, Marc Caro gets fed up when there is a report that even their heads are identical. “I do not know who had the goatee first, but it is primarily me who have lost the hair,” points out the director and designer to meet in the name of ” Made in Caro.

Photo: Made in Caro

“It makes me laugh, he continues, because it was I who made the poster of the exhibition. I immediately had the idea of a face [with our two heads]. There are people who only discover it after they were told that it is half-and-half. “


This happy confusion runs throughout the exhibition of the Halle Saint Pierre, who is back on forty years of cinema. Little time and any circular, the space puts on an equal footing, or almost, each work output of these heads. It has been carried out with four hands or solo. The exhibition still gives to each what belongs to him.


“We never really left us, ensures Marc Caro. We see each other from time to time. We saw already because Jean-Pierre produced a small animated film that I am doing. Otherwise, we cross paths, we invites you to our first. It has never lost. “


The reunion public spend in a museum does not herald the return of the duo on set. The collaboration was terminated in 1995, because each had ” personal things to explore “, according to Caro, who has not known solo career of his accomplice. Recall that Jean-Pierre Jeunet is behind, in particular, The fabulous destiny of Amelie Poulain (2001), the greatest success in the French language in the world, according to the documents of the Halle Saint Pierre.


On a new Caro and Jeunet, our interlocutor is clear : “there is no draft on the fire. It is true that, as Jean-Pierre said, if we are offered $ 180 million to The city of lost children 2… This is outstanding, make films together. It should be a project in which the two burst open. “


Marc Caro has enjoyed being on the same stage as his friend. Without nostalgia or jealousy. Yes, the exposure has more of Jeunet as Caro, but he can’t be jealous. “I never would have been able to make Amélie. I am super happy with his success, he deserves it “, said the author of one feature film since 1995 – Dante 01 (2008), with Lambert Wilson.

There is a common foundation between Jean-Pierre and myself, that the work of a craftsman. It is like being a cook. We’re all small ingredients to make a film, as you would for a tv. After the fun, it is to give a taste of the dish.
Marc Caro, director and designer

Fantastic cook


“I have a more fantastic note this instinctive, a kind of thing that comes out of what I have done previously, in the comic strip. My films with Jean-Pierre were all fantastic : The bunker of the last gunshots [1981], Delicatessen, The city of lost children… After that, Jean-Pierre became more poetic. “

Photo: Collection Jean-Pierre Jeunet

Accessories and sets, storyboards and drawings, claps and photos, everything that has been gathered by the small parisian museum seems to be from the same fantastical world. As if Amélie Poulain…, and un long dimanche de fiançailles (2004) or mi’kmaq tire larigot (2009), the films of Jeunet, could not be preceded by Delicatessen.


Marc Caro considers the exhibition as just a point : all objects, including the illustrious “instrument to collect the tears” seen in The city of lost children or the monster from Alien resurrection (Jeunet, 1997), to honor the world of antiques and the pleasure exploratory… flavors.


“There is a common foundation between Jean-Pierre and myself, that the work of a craftsman,” he says. It is like being a cook. We’re all small ingredients to make a film, as you would for a tv. After the fun, it is to give a taste of the dish. “


The two accomplices have demanded only one thing to the curator of the exhibition and the museum’s director, Martine Lusardy : avoid the glut of texts.


“Often, in the exhibits, there are sandwiches out of things to read. Us, it is only visual and sound. We did not need more, ” said Marc Caro.


At the Halle Saint-Pierre, in Montmartre that Amélie has extensively covered, the emphasis is on “the dream child [who] sits next to the tale dark, the absurd and the funny, the poetic realism’, in the words of Martine Lusardy. Regardless of whether this dream was short or long, musical (the music video for Zoolook 1985, to Jean-Michel Jarre), or even classified among the ” movies you’ll never see “, whose version of Life of Pi designed by Jeunet.


Caro/Jeunet is on display until July 2018.

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