The producer of seductive miniseries "Victor Hugo, the enemy of the state", opened by France 2 on Monday, November 5th and Tuesday, November 6th, is Iris Bucher passionate about the writer. She circled with the utmost attention to visit her in the public service. Meeting.
Why is Hugo at the center of attention today?
Because man is wonderful modernity. His struggle still counts so much: his talk of misery, which originated in 1848, would unfortunately be written in 2018. This series is also a project that is close to my heart. I mostly produced crime novels or drama for television, never a historical fiction. But I'm a big fan of Hugo. Thanks to him, I learned French: I am German and when I was 15 years old I discovered Miserables, I was so excited that I decided to read this book in the original version. As a fan of the producer, I never understood why Hugo put so few films. This gap had to be filled.
Why did you choose the period 1848-1851 for these mineseries?
When we attack a person like Hugo, we do not know how to take it: he is bigger than life. This is probably because there are so many movies on it. I read my correspondence with Juliette Drouet, who was his lady for a very large part of her life. I understood that this couple of years, which went from 1848 to Louis Napoleon Bonaparte's national coup in 1851, could be summed up by Victor Hugo. Then there is a politician who moves from right to left, and a lover who is afraid of complex relationships with several women. Hugo is threatened in public life as in private life. [Cinq ans après la mort accidentelle de Léopoldine, sa fille aînée, ndlr] Important things are also tied to the family plan: his sons are sent to prison because of their political writings, his daughter, Adela H. [titre du film de François Truffaut sur elle, ndlr], he is already beginning to deal with excessive behavior. If we focus on these three very difficult years, we had a lot to say.
Does this mini-series want to be a true historical truth?
We were worried about the accuracy of the facts, of course: we had no right to issue Victor Hugo. Ninety-five per cent of what they show is true, while the remaining 5% simply provide freedom in the timeframe. Being a faithful historical reality was not a limitation: Hugo himself described his life and his times, especially in They saw things, and it did not have to be invented.
"There is no city in France that has no place, street, avenue or Victor-Hugo school!"
Documentary film, Victor Hugo, a century in the revolutions, was created along with a series: did you want to create the Hugo event on public channels?
First we wanted to know what happened to Victor Hugo after 1851! A documentary film transmitted by France 5 provides a global vision of its course. This is the will of French televisions that have made synergies between the antennas and must be welcomed: only the public service can create this type of event. And bring Victor Hugo to the general public, what better mission can you imagine for French television? Especially because people really like Hugo are always passionate Miserables. And in France there is no city that has no place, street, avenue or school Victor-Hugo!
How did your choice relate to Jean-Marc Moutout for the realization?
We were looking for someone who has a lot of sensitivity and an opportunity to enrich very rich times. I'm sure Violence of trade in a moderate environment (2004), where Jean-Marc managed to conquer a business world, which is largely not thanks to the level. Victor Hugo during this period of 1848 can be quite sharp. With Jean-Marco, we found a director who knew how to make this page of the history of a very living, very human.
Why did you choose Yannick Choirat to play Victor Hugo?
We gave essays to many players. I am convinced that it is necessary to find a comedian who is not widely known to the public. It seemed to me that the interpreter should be able to blink for Hugo. France 2 left us with the freedom to search for a few famous comedians by directing us against the theater. When in 1789 we saw Yannick Choir in the spectacle of Joel Pommerat, This will be fine (1) The end of Louis, We told ourselves: this is him! Hugo was a theatrical man, and when he was in the assembly, he worked on himself, he planned reactions and prepared his effects – the series shows him well. Yannick Choir has a gift to tell things in a very interesting way. And a forty-year-old is like Hugo, and we show him. He's in love in his life.