He was expected star, distant and, above all, above material contingencies. But Jean-Jacques Annaud, the Oscar-winning and multi-césarisé filmmaker, has proved pragmatic and interested in the world of economics. And not only for his own personal culture. "I've been called a merchant," remembers Brad Pitt's 7-year-old in Tibet and Sean Connery in "The Name of the Rose." Because I have made success, and it is very badly seen in France. Here, we must make honorable failures, not successes ".
Are these successes inevitably linked to its economic culture? "I read the Financial Times a lot, I always read Les Echos and the pages Salmon du Figaro. First and before the show pages! " A way of understanding the world in general, and his own in particular, that of cinema. "How do you want me to approach a Chinese studio to ask anything if I'm not in a setting I understand". A framework, or a language that is not necessarily Mandarin, but the economic language.
A culture that is not taught to apprentice directors. And he laments it. "Because the crucial moment for a director is the one where he has to obtain the financing of his film. It is not taught to students, because it is considered vulgar. But in a film, the material component is vital and you have to know how to convince. "
Jean-Jacques Annaud, who after The Last Wolf – a Chinese co-production – serially adapted Joel Dicker's truth about Joel Dicker's Harry Quebert affair, convinced, during his long career, the producers of course, but also the most great actors and ultimately, the public.