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César 2004
Bonsoir... Bonsoir.
Par exemple prenons la joie, la joie d'avoir un césar. Il y a différentes sortes de joie. Il y a la joie phénoménale, parce qu'on l'attendait, on l'attendait depuis des années, on y rêvait.
Et puis il y a la joie légère comme du champagne, parce que justement, on l'attendait pas, on pense que d'autres le méritait d'avantage. Et puis y a la joie sombre et romantique, de ne pas avoir de césars justement, parce que, comme ça, on va pouvoir continuer à y rêver.
Et puis il y a le chagrin, mais là aussi. Il y a différentes sortes de chagrins. Y a le chagrin dévastateur parce que personne vous aime, on croit que personne ne vous a jamais aimé. Il y a le chagrin, comment dire...la aussi désabusé. "Dommage. Ils n'ont rien compris"...
Et puis il y a le chagrin constructif..." Vous verrez l'année prochaine, vous allez voir ça". Parce qu'au fond ici, tout est question d'espoir, le désir de continuer, de continuer de faire ce métier.
Le vrai chagrin, c'est de ne pas jouer, de ne pas écrire, de ne pas mettre en scène, de ne pas illuminer, de ne pas composer, de ne pas habiller, décorer. Et la vraie joie c'est de faire ce qu'on aime, d'y croire, d'aller jusqu'au bout d'un rêve.
Alors, le chagrin ou la
joie pour une récompense
Voilà, je déclare ouverte la 29ème nuit des César.
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Opening Speech
Good evening… Good evening.
To have or not to have...the César. One could summarize the ceremony in an abrupt way. But there are nuances, details which make all the charm and diversity of this evening.
For example, let us take the joy, the joy of having a César. There are different kinds of joy. There is the phenomenal joy, because one had been expecting the César, one had been expecting it for years, one had dreamt of it.
And then there is the light joy, like champagne, because you hadn’t expected it, one thinks that the others deserved it more. And then there is the dark and romantic joy, of not having the César, because in this case you can continue to dream of it.
And then there is sorrow. But there are different kinds of sorrow. There is the devastating sorrow because nobody loves you, because one believes that nobody have ever loved you. There is the sorrow, how to say…too disillusioned. "Pity. They didn’t understand anything”...
And then there is the constructive sorrow..."You will see next year, you will see that”. Because deep down, it’s a question of hope, of desire to continue, to continue to do this job.
The real sorrow is not to perform, not to write, not to direct, not to illuminate, not to compose, not to dress, not to decorate. And the real joy is to do what one loves and what one believes in, to follow it to the end of a dream.
So, the joy or sorrow of an award you had or you didn’t have are fleeting, what remains is to have lived...each one of us, for what we really loved despite everything. And all that remains is our attempt to create a world where one could talk with the devils, the gods... A world where one could hope to reconcile. A world where one could denounce or glorify, laugh or cry...and where, in spite of the threat of being absorbed by other interests. The most important thing of our world, of our small world, is to move the bigger world, and to give it the desire to live.
Here, I declare open the 29th César.
© FANNY ARDANT Online Translated by Aleksandra Darsant Edited by George Sand
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