Géraldine Nakache fait du bien

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0:57Bluffly, contouring, glass skin, masque, peau flasque, relâchement, cheveux blancs, acné, zone T, brillance, en apparence. Bonjour, c 'est Nora Amzaoui et vous écoutez En Apparence. Bienvenue dans cette saison 2, c 'est le premier épisode. Je suis trop contente de refaire une saison. Merci pour vos écoutes, merci pour vos messages, merci pour tout ça. C 'est vraiment très réjouissant, ça me flatte beaucoup, ça me fait beaucoup de bien à mon égo. L 'invité que je reçois pour ce premier épisode aujourd 'hui est actrice, réalisatrice. Je ne sais plus vraiment d 'où on se connaît, ni à quel point on se connaît.

1:23Je sais qu 'on s 'est forcément envoyé des émojis et des messages sur Insta. I remember particularly of two encounters in the real life where I was struck by his energy vital energy. It can be strange to say, but it's really what she inspired me. A force, a spontaneity, a rapidity. For me, I find someone who's happy, it's going to be. A way frank to speak without hesitation, to be a charrier. In the humorous, you almost almost to dout your own repartee. She is also cool, chic, also marrantes, intense. And it's out this week a film that I've broken heart before I'm going to repair. Hello, Géraldine Macache.

1:53I made a little bit of a kiss. You know what I'm saying? You know what I'm saying? I'm trying to provoke myself. That's what happens? That's crazy. I'm trying to get into it. I'm trying to get into it. It could happen, but it's true that I don't have a souvenir. Oh, yes, you provoke me. But if you talk about a souvenir, not like, oh, I'm excited. Ah, yes, a souvenir. Yes, it's possible, I imagine. Ah, yes. A souvenir in which I'm going to be part prenante. Yeah. Maybe a little more. Or a very, very old. You know? No, yeah. Well, when you said that you had a lot of, I saw it too. But because you're flat?

2:26I don't know. Or maybe because there's something chemical? Maybe. We'll see. One time I was wearing a very thin side on the scene. I don't know why I told you this anecdote. In addition, it's not that I want to do with it. But I had a standing standing. And I was a little... And I had a little honte. You had a little honte? A little. You told me? Yes. Because I did that. And then I said, oh yeah, pardon. So you don't want to say that? In fact, I don't want to say that. Never. Pardon, I have the impression that we have the answer. You don't want to say that. Well, you don't want to say that. No, maybe not.

3:05To, you don't want to say that? Yeah. Ah, yeah? In fact, it's because I don't want to say that I don't want to say that. Now, I'll explain. For example, here I'm in a promotion for the release of my film. I have the feeling that I don't want to say that in promotion. Why? I've seen some promos. I'm a place where I'm artist. So we don't know the truth. Even if we're using the film. But we don't know the truth. Even more than if we were hiding behind the literature. Because there's another envelope. There's another voice. There's everything. So I don't know the truth. Even if I'm doing the flame and the flame.

3:45Even if I'm doing the Enfants are Roi. Even if I'm doing the Pense Bien or everything. I don't know the truth. It's a part of the truth. But in all cases, it's not more a place where it's me that when I decide to take the word in writing a text, so that talks about dialogue. So I'm feeling with the age and with the time today that when I'm in promotion for telling the truth about why I wanted to write this truth, that finally, on me, I'm not sure the right to mentir. And I'm not sure to protect myself. You know? So yes, I'm not here because I'm not sure. never in fact. Okay, but in this case-là, I'm sure with you.

4:22It's a contract. It's a mess. It's not a sense of sincerity. It's a mess. I'm super sincere in my mess. But what I'm saying, it's that I don't know. You're not. Yes, it's true. But it's because I have the feeling that it's the only way to protect me a minimum that to not be able to say the name of my children or photographic what I would like to eat, for example, it would be an infer. Intrusive in your life. Ah, but an infer. I know that if you take a photo, it's precisely because it's not you who did it, a priori. Or because you're fier. Or because you're a lot too fier of having done a thing like that.

5:04You know, so... So, yes, but... But I feel like it's going to go in a lot of sense. Or not. Or not. Maybe we will only talk about the truth and the truth. I will not be able to get you a little bit. I would like to say that your film is on Tuesday, so it was released here. If you think well, with Monia Chokri, our friend Amour, Monia Chokri, who is amazing, and Nils Jeneter, who is amazing. All right, all of them are amazing, I'm not saying all the names. But anyway, they are... I'm sure they are amazing. I was told to say, all of them in off, Clémentine Sellerier, where I was thinking, what did I do all these years where I didn't know quite Clémentine Sellerier.

5:41It's good, it's regal, you're going to see it everywhere. And at just a title. Ah ouais, it's dingue. It's dingue. I dreamt of playing her daughter at the cinema. So no one ever thought. So I said, I'm not going to play in this movie, but I'm going to take her as a mom to another stage. And it was the mom of Monia for me. And I was very upset that she refused. Because sometimes she says things like that. But for the coup, I had her and she in the head. She has something, Clémentine, around the truth, which is quite surprising. Because in addition, I built all the roles around Monia and Nils in the observation.

6:15in the understanding. And so I asked all these actors brillants, I think Ousama Keddam, Mina Kevani, you know, Clementine and all, I would have all asked to stare and observe, which is when an actor, when he comes to be an actor, in more than a few days only, it's difficult to ask. But in real, it was also to recueillir that of them, because I knew what I was looking for in them. And it's true that Clementine, when she arrives, with her silence, when she arrives all short, she is charged with something that you describe there which is what you feel like in the way it's not only the role, it's also and I think that we are marked by some images of cinema or some scenes, not necessarily cinema but in the life of the movie, which marks like the photos of the mental health and I know that for me, in this film there is one of the most beautiful scenes of cinema, which really has broken the heart I'm going to tell you because I don't spoil it and you can comment on this scene the scene where she read the book this scene for me she is the grandmother of a little girl so the girl of Monia and effectively she read a story in the room of the little and in the room obviously it's a little between her daughter and her husband and she tries to be in the joy and I think that this thing that we feel for sure in the parents because I think there is an identification on so many of them but this kind of urgency to the joy and to the lightest and to try to make sure that everything stays for the other, for the kids, for the children.

7:47Because it's a vast subject, the urgency to joy. It's a necessity. Even when we don't believe it, I think it's a good method to force it to joy. I believe that... I saw something, there are some people who make a rirologic, a rirologic. Ah, yeah. At the beginning, you see them play a lot and play a lot. You see them, if you please. but I believe that it's imparable. I think that's what said Audrey Hepburn. I think it's her who said that it was going to be a rire every day. And it's true that the other day, I was found to have a foul rire, but a foul rire tellement fort with my wife. That's magical.

8:23With your wife? Yeah. And I was thinking, it reminds me of adolescence. It reminds me of the foul rires. And I was wondering if they weren't almost hormonal, so we're débiles. You know, we can't stop. It's exceptional. That's a long time? As a long time. And in plus, you know, we were going to stop and we were going to stop. Wow, great. And I was thinking, Ah, là, tu as gagné des miles avec lui. Oui. Ah, oui. Ah, magnifique. Et après, mais juste après, j 'ai été prise d 'une soudaine mélancolie à me dire, mais attends, pourquoi ? En fait, c 'est assez rare de rire autant. Oui, bien sûr, c 'est rare.

8:51Mais c 'est pour ça que c 'est qualitatif aussi. Oui. Et toi, tu as cet élan-là quand tu as fait ce film. Enfin, déjà, j 'ai plusieurs questions sur ce film-là. Est-ce qu 'il a été question un tout petit moment que tu joues dedans ? Non, jamais. Il n 'a jamais été question que je joue dedans. Vraiment, jamais, jamais. I didn't have a lot of certainty on this film, but that one existed. Also because I questioned a lot of victims of Gilles, the character of Monia, and all of a sudden, I would put Leila in the middle, because the subject is when it is I am, it is Leila, until the present in my film.

9:18But it's like if it was a little bit of the subject, and more little than all these victims I had met. So I didn't want to give my voice, my débit, my body. all of a sudden it was not true we talked about the truth it was not true so it has never been question in revanche it has never been question of Monia no more it is to say I made a thing that I never had done on the three previous films it is that I wrote in thinking to no one without having the voice of who you are it was a bit of a first time after I had the voice because I was still I was going to say I was going to say I was going to say for the film but unfortunately it was very easy if I was going to say to find people who live with psychological violence.

10:05And then my co-scénarist was Belgian, so in addition, we didn't have to meet in France. It's interesting that you say that on the thing where you have cried without the voice of someone, because at the time, the music of the film is rather, I think, sensorine, in the sensations of the person, in the scenes. There's not much music. And there's something really in his body. Yes, it was on the souffle. It was on the souffle. It was also on the side of the soul. I had a lot of fear that it became dogmatic, because I've talked a lot about my mixers, even my monteuses, in saying that I want to be the sound of the water and to me put on the pool of Monia.

10:34At one point, it could be a bit of an school of cinema. But I don't know, it's a pre-existing time from all my writing, all my research. It's true that the scenario was... We had time to write. And it's stayed. It's stayed. At the time, it's been a long time. It's because it was at this place that I was giving homage to all these women. I say women, but there are also men. Yes, of course. There are less, but there are. And so, you say sensoriel, it's good. It's good. It's good. It's good. It's good because the opening of the film is on a preparation of a miguet. The miguet is a ritual that the women Jews do after their menstruation or before their marriage to purify and to be able to suffer to their marriage and to be able to make family.

11:15And so, during the miguet, it's like the onsen in Japan. There are women who are also cleaning. And the women, for the sake of it. You have to wash before going to wash. Before going to wash. And so it's a methodical and ritual. You have to take all of it on you, the hair, the verny, obviously, the hair, the hair, the hair, I loved it. I loved it. I was just about to film this ritual. I think there was a thing to do almost like that. You know, No, no, no. You know, but in fact, you're in the intimation of a woman. This thing of the... Yeah, it's very... Yeah, well, super. Because in plus, for coming back to the song, it's a lot of what you say there.

11:51because often when I go to show the film, I ask, is it you've been looking for a search? I've never heard a sound on a coton on a ombre. And in fact, what is interesting and interesting for talking about cuisine, because it's interesting also even when it's not, is that, just like, I don't want to do anything to traffic the sound. It's to say that the sound that exists in the film on this preparation of the mic V is the real sound of the sound. And I'm going to realize with the sound because before the mixage, there's a sound that comes to the film, that we, at the cinema, even if we want to tell the real, and vice versa, we're going to make things and there's a convention to make everything more cotton and beautiful, naturally.

12:32And then, we've done the work inverse. It's to say that the sound is a first pass, where he made it to the cinema, and then it was a problem. I didn't know why. And then, I said, but there's a treatment there. He said, yes, of course, there's a treatment. Because it's that, to do cinema. It's traiter each image, each sound, each word, each word. and then we have made a sense to remove all forms of treatment that it doesn't fit the thing that it is true and the truth without doing the documentary and bizarrely when people see it they say oh there there we feel something very strong like if it had been done for and for all it's exactly the opposite I removed the cinema to this place and I fragment the core of Monia to tell what was the ritual it's like my boss opérateur pour filmer les scènes un peu religieuses, donc de miguet ou de mariage dans une synagogue par exemple, naturellement il m 'a dit, ah on va mettre du carboglase, cette espèce de machine à fumer qui provoque un effet comme ça, plus dans le miguet, tu dis de l 'eau, la vapeur enfin ça fait sens, et tout de suite je lui ai dit, ah non, mais c 'était comme une certitude c 'était pas un truc, je lui ai dit, ah non, non, surtout pas surtout pas, on va pas filmer de présence divine, on va filmer du rituel factuel, tu vois ça c 'était un peu une obsession since the beginning.

13:45And then after the rest, we worked and worked. After, nothing was going to in the marm-bronze. No, wait, I think it was going to say...

13:59I believe. I'm not sure, but if it was going to go to the bronze, nothing was going to go to the bronze. It's wonderful. Thank you. If I never knew which teaser to put for the episode. It was a pleasant.

14:18because your subject is so intense that you think it's already an impression you have a SPM which is SPM? SDM is a rapper? eh bah ok yes no I don't know SPM is a syndrome prémenstrual SPM of course I don't know I don't know at all RATP if you want you don't know syndrome prémenstrual I don't even know I can't say SPM. Impossible. I don't know. You don't know. You don't know. But I can't say SPM. You don't know. You don't know. Not even. You don't know SPM. No, no, I don't know. Before you're going to get bronze and stuff, you said what? Ah, yeah. I have a question. I'm important. Because I don't know in which sense I'm going to do that.

15:03But I read. I think you have a rapport to you and to you-même which is extirly, extirly, very sain. But extirly, as I said in the off, you're looking at the hair in shape, you have the thing I read a thing where you said that you had no problem with your image in the cinema as an actress to see you in a movie because it's not me even to push a little to take a little to take a little to do what you have to feel like you have the impression that it's work the Americans do it I just because I turned two months after having accouched that I'm in a movie it's never because I'm going to take a little to do it for a film but I think I think that and even almost Because, if I can't get away from my envelope, I feel that we will feel the work.

15:46I don't know. But in the first projo, you see the film for the first time. The film where I made the actress? Yeah. You know, I'm not mistaken. You know where it comes from, maybe? It's because I've worked a lot at TV, especially comedy, where we were making sketches, etc. And because there were some economic issues, Cadet Olivier, I often took people from the stores, to play with them, to give them a replica, to make a more, more. So I've been often brought up to put some perruques and to say... It's who, this person in Juste Corps, that I love? To you. To me? Yes, you're in Juste Corps. But it's not at Elie Seymour, the little dance dance?

16:26Yes. With Frank Dubos. It's hilarious. But it's hilarious. And especially, when you see it, you said that she is super free the other day I said I don't know why you have no thing but it's relative to what we're in front of it's to say that from the moment where there's action although I'm not actor studio I haven't been able to do the act I haven't been able to do the theater but it's like if I had the right to be who I want in any case to be this person who is on a paper so it's me liberate but not you when you're acting there's something that's liberating It's not us. Yes, I don't do much the actress.

17:04When you want to hear it. Yes, it's fine. In addition, you do with people... You're a little bit of a tattoo, if you want to say. Well, maybe. Yes, I don't know. So, in all, there are people who are attributing a character. But I must say that, there's something I haven't completely understood in the actress. It's that sometimes, but it's not that it's true, it's not that it's not that. Sometimes, I don't know why at all. Is it supposed to know why we chose? I don't know if it's a thing of nature. I don't know. Just you tell me things. It's you. You want to know why you choose. But sometimes I see a role and I love it.

17:38But in the couple also, you don't know why you choose. It's accepting the beauty of that. It's also terrible because you're the elu at a moment. And maybe you don't have the casting after. Sometimes I read a thing and I say, I'm very well why you're a thought. And sometimes I read a thing and I say, I don't know why. It's really like... But you don't know why, I have the impression that it's still better if you don't know why. But to go back to the thing, I have the impression of having a little bit of a problem. Is it in photo you're also at a... No, it's not the same job. That, by the way, it's a catastrophe.

18:11Okay. In photo, when I make a promo, for example, I do have a shooting photo for Madame Figaro. That's a hard. That's a hard. I take it on my own because I'm volontaire. That's my nature photo or photo. That's a hard. That's a hard because of all of a sudden, I have the impression that I'm missing my mind. precisely, because it's not that we're going to capture it. And that, of course, it's my spirit who made me save, which made me grow like that. I was like, I was like, I was like, through the time. It's because of what I thought, what I said. So, all of a sudden, we're going to be able to shoot the chick.

18:44And it's the exercise of being shooted during or after when you see photos? I do recognize that today, we are kind of aidés and then because there's a team, there's a makeup, etc. So often, after, it's still better than when. Because after, I'm not a I know that I don't look at Laetitia Casta. So I don't expect to see Laetitia Casta. So it's always a bit better than what I felt. Where all of a sudden I know that the juke isn't shut. I know. The juke isn't shut. I know that I'm a little bit hot. I know that the moment is difficult. And every time, I say, it's okay. It's super simple. I'm always happy with what I see.

19:21Like if I'm thinking better. You know what I mean? Yes. I know the merchandise. I know very well that it can't be better than what it is. So it's better than the feeling. Because the feeling, at this point, I don't know, it's a little bit difficult. There are some photographers who have the habit of shooting, and so they know our... We have an état d 'âme fou at this moment. So it's more simple. For example, I shoot it not long for a magazine. I thought it was a double peine because there was no music on the table. In any case, there was no sound. Well, the music, it's completely. It's cool. You put the music...

20:02I'm saying that it's not a sound. Imagine you, there was no music, no sound. And in addition, it was silent. I didn't even hear it when he shooted. So, it's like if there was a button on me. And the only interest was to see what I was going to give. There was no distraction. I don't know how to say it. So the music, it's just me. Because I'm saying, there are people who will sing. There are people who will say, I'm not. I'm not sure. I'm going to dance a little bit. But no, I don't dance. But no, I don't dance. I'm ultra-détendu. I don't dance, but I'm saying that... Well, in the silence,

20:37all the people were on me. It was awful. Franchement, it was a shooting. It was a douloureux, carrément. And you saw the result? I saw it. I saw it. I saw it. I saw it. And the rest... And it's like that? It's fine. It's better than what I felt at this moment. It's fine. And the importance of your film, but like others, I don't know, but the other, it's a comedy, I don't know, in the same time. But in all of a, this one is going to be at Cannes. Do you think your other films were also going to be at Cannes? No, not at all. So, there it was, in the first film, at Cannes. Yeah. Well, in all, we know that it's super for the film and all.

21:16Is it cool in the same time but even for the joy and for the stuff. It's super because it's the berceau of the world. And when you want to do cinema, when you do cinema, you know it. It's a kind of sense. For me, it's an opening of the Cannes, with this music. Since I was young, it's something for me. It's all. I don't know. I don't know. It's all. Then there are always a few people who say you don't see the tapis. This is a tall one. It's a five seconds. It's always a... Yes, it's a long time. Well, just it's a long time. Five seconds to go to the vent. It's not very bad. No, I'm all. I'm all.

22:00You also have the glamour, the prep, the trouver the nut. And of course, I've done before, if you think about it, where it was the most ridiculous moment, because it was my film who was put in honor in this room of cinema magistral, where the technique I was all in the way. But I, by a way, I had to make sure I was able to celebrate the cinema. So, I had to do glam. I had to be jury at the camera door where it was only to see the films. And the glam, I was very happy. And I had to be able to do it. After, the truth of If you think well, this year, it's that the film is selected in a Cannes 1, so in plus, without competition.

22:40So, I have the logo on my afiche. And then, I have no idea of winning or not winning, like when I was little. Because I passed the class supérieur. so really the beer and the money for the beer but it's a very interesting thing that I accouche three weeks ago and that all of a sudden it's true my subject becomes I don't want to go into my robe and there all of a sudden you feel really nerd especially at my age and all you feel a little nerd but like I said to my friend I said to my friend I have the right to plear for that also I have the right to say wow I don't want to go into nothing I have the chance I have the house I have to go into my house and for all when I go to do the essayages ah then wait Well, in shooting photos, it's possible because we don't see the event behind.

23:17But at Cannes, you don't have it everywhere. You're on a road. And so, I was found to hear, and to just a degree, of all my peers, you're talking about your child, you're a baby, you're a baby, you're a chance, you're a chance. And you're a baby. Yes, I'm a baby. Yes, I'm a baby. But maybe you'll be able to make clear here, it's what this thing where we're supposed to enter that in a size of a robe? Yes, there's this thing complicated. It's quite complicated. Yes, it's complicated. I don't know, but it's complicated. I don't know that I would prefer to be in the house. Because when you're in the house, you're in the house.

23:52You're in the house. You're in the house. It's harmonious. It's beautiful, a woman in the house. Even if when you're in your grossest, you're in the house. It's kind of cool. I had accouché three weeks ago. I was in the house without being in the house. Because, vide, vide. Oh, it's the same word. Yeah, but I'm very good. And then, it's beautiful to be in the house. but there I had a heart there was nothing to do so yes I was very helpful with people who said and then in plus we are in an era where we are really we are gentle with that we have the chance we have gained at this place so everyone was very gentle there are still people who shame so much on the internet I'm sure I'm sure I'm feeling I've heard that I've heard that but it was hard Oh, it was hard.

24:43I'm sorry. I'm sorry. But you're not sorry. Because at a moment, I had a feeling of pleading because I didn't want to wear a robe. So I was choyed. Yes, but it's also a change. And we... It's also a charge mentale. And then, double peine encore plus, it's that the baby in question was too little. So I didn't have to take it with me at Cannes. So I took the other. But he, as he didn't have done the vaccine, my pediatre told me, It's not bad to take it, but I'm talking about my sister, I'm not saying that it's a mess. It's a mess, it's a mess. It's a mess, it's a mess. Well, yeah. So, it's a mess.

25:18It's a mess. It's a mess. Really, you're a mess. It's a mess. It's a mess. The preuve, it's that physically, you're looking at... Again, a mess. Exactly. Yeah, almost. So, it was special, this march. and all the way, everything was special. But it was amazing. It was immense. It was super. And then, in addition, the film received a great accueil. Because they were also told me that it could be kit or double. And when it doesn't work, it's worse at Cannes than a series of classic films. Well, I didn't have to go through that. It was really kit. You had a kit. When we say kit or double, it was kit or double.

26:03Yeah, yeah. So, Kit, it's cool. And Double, it's null. It's a good thing. Or, it's Kit. It's super, right? Ah, well? Double, it's plus. It was Kit or Double. It was Kit or Double? Well, Double, it's good. I've always thought that Kit or Double was like a pile or face. I thought that both were also neutral. That Double was not better than Kit. It's not possible, because Kit, it's Kit. And Double, it's Double. But it's what, Kit? Kit, it's... It's not? I don't know. Putain, merde. It's crazy. It's crazy. But in fact, it's HPI.

26:32Maybe. Maybe. Or not. You can tell me? I'm looking for a look? I'm looking for a look. Yes, I know what you want to say, pile or face. Pile or face, for the coup, it's equitable. You don't have a look. There's no one. I hope I have pile. What's your question? Because that's where I want to ask. I'm going to tell you. D 'où vient. The expression, which to double, of course. The expression. I would say, which to double? Which to double is the best? You could call me a little thing or something like that. That would have been complicated. L 'émission radiophonique emblématique qui tout double. Quoi ?

27:00Pas du tout là-dessus. T 'es sur Google. Jouer à qui tout double. Non, mais c 'est sur Google. Mais maintenant, tu sais, il répond avec un nier aperçu. Ah, de façon incohérente ou contradictoire, cette expression remonte au 19e siècle. S 'inspire des cris des... Attends, quoi ? Nora, Nora, Nora. Attends. Non, non, non. Ah, il y a plusieurs... L 'origine. Cette expression vient directement de l 'univers des jeux. Bah, t 'as raison, de hasard dans ce cas-là. Un joueur se retrouve tôt ou tard à faire ce choix. Arrêtez de jouer ou empochez ses gains. Well, obviously, it's a logical thing now. Wait, let's go.

27:29You have a game. It's the universe of the game. So it's a kit. So it's a double game. Not at all. It's not a thing they say. So it's a game. It's a game. So it's a game. So it's a game. So it's a game. So it's a game. So it's a game. So it's a game. You're going to do it. It's a game. Yeah, I also. I think I'll do it like during my scolarité when I'm not sure. Tant pis, it doesn't exist. Ah ouais, you're doing it like that? Bah, a bit, ouais. I made a pass on the materials. Not on the China. But you had a chance of luck? You had a 19 at the back. Well, you had a mega chance. No, no, no, no. Pardon, pardon.

27:59De philo. Ah. But it was like 9. No, I had 17 at the time. It was what the subject? I have no idea. I don't remember. And especially, as I had a 3 all year old, I do part of these people where people say, there were people who said, they were planting copies. Well, not at all. I had met a professor who had a job of philo for that I understand and it was passionately at the end of the year yeah just before the bac but so you knew that your experience you had achieved yeah yeah it's great yeah so my first course in which class already terminal no it's in the first I had a professor maybe second because because for me it was the year so the bac so the first so the first it's hard I have the idea that's in second in the same time that the co and after you choose if you go maybe you have to what age 43 So it was different at my time.

28:51Because it was certainly the year of a BAC. So BAC French, but it was not an year. So it was a first year. And I remember my first course. And I was thinking, wow, that's going to be super, that. He told us, he had an accent in more, so it was a bit exotic, like that, this course. He had a beard, like that. And he told us, I don't remember his name. He told us, it was a course on the perception. And he told us, What is the sound of the horn? So, all the class has been coin, coin, coin, coin. And he said, you know that in Germany, they do Reb, Reb, Reb, Reb, Reb. And it works. It's a cat who says Reb, Reb, Reb.

29:33You hear the cat? Yeah, yeah. That's changed. After, if we were a Time's Up tomorrow and you said Reb, Reb, Reb, Reb, I wouldn't be able to do it. We're not at Berlin. So I would have to say, what, what, what? What I want to say, it's that it's that the cat. It's a little bit of a cat. I was like, you're listening to a thing, it's the truth, it's your truth, it's your truth. And so you think that it's the universe universe of the world. And in fact, when they say, you're a kid, you're a kid. I think you have a pure, Geraldine. Because at this age, I would have said that I was like, what a kid.

30:01And then I would have done something. I would have played a game where I would have made a little more than a kid. I think you're very elegant because you have nothing to do with this story. And you're a kid. I'm really a kid. When I was little, I had no idea, it was to work. I was dreaming of being a farmer, a farmer, a librarian. I imagined, independent, having my own shop and being the patron of my commerce. This feeling of independence, I finally gained it on stage, thanks to my spectacles. But if I could make this other dream of infant, I don't know what I would sell, maybe my brand of skincare or makeup, but I would use Shopify, which sponsorizes this episode.

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31:10transforming a basic routine into something extraordinary. With standout aesthetics and intuitive controls, these are functional works of art, stunning design that never sacrifices performance. Enjoy customizable features for elevated comfort and convenience. It's more than a fixture. It's a cleaner routine and a more refined space. Experience the difference of Kohler Smart Toilets. Find more at Kohler.com. But I wanted to know how to do that kind of adolescence you were how to do this kind of thing? You were that kind of thing? At this moment, I was in an school that offered me the opportunity to do cinema with F8 at the level.

31:50Ah yeah? Because you were super young that you wanted to do cinema. No, in fact, I saw that my brother did something cool. My brother, he has seven years old than me, he's the guy the most amazing world. I want absolutely to find him great like I find him great. So I said, I don't want to ask him, but I'll do like him. So, at my time, there was a science cinema cinema. Because my degree is a literary cinema cinema. It's called A3. So, you understand my age when I say BAC A3. Yeah, for me, I have the same age. I'm a little older than you. And so, I'm in this college at Saint-Germain, I live at Puteaux, who is the only to offer this teaching in materials and not in options.

32:31Co-F8, you imagine? So, it's a little bit of time when you I'm going to do this. And so, philo-cinéma, if you're a doué in these two matters, in general, you have a mention. It's a little bit about it. It's a little bit about it. It's a little bit about it. You're a good teacher. Yeah, I'm a good teacher. In fact, I'm applied. And I know that everything is not done. I'm not going to cook it. I'm going to say that very early, I'm going to say that it's a great job. I need to work for that. And you're going to do that? Naturally, I have parents who come from Algeria, middle class, I live in a small city, so calm, profile, I do studies, and it will not happen.

33:10And it's the truth. And in addition, I have the impression that it's a truth. Because today, I love a job, I have a very good job. And for all, it's what I do to transmit my children's children. So I have the impression that it's something that perdure. And when you do that, and you have these choices, and you're an adult, you're a little serious? Yeah, I'm serious. But you're interested in things superficially, d 'ado, populaire ? Tu t 'intéresses au frein ? J 'ai tout ce qui brille. J 'ai mon tout ce qui brille. Pour le coup, ce film-là, c 'est vraiment mon histoire. Donc oui, il y a une dichotomie en moi.

33:44C 'est -à-dire que je suis une bonne fille. Je suis une très bonne fille pour mes parents. C 'est -à-dire que je ne me tue pas à la tâche, mais je travaille parce que j 'ai compris que les notes suivraient si je travaille. Si je ne travaille pas, il ne se passera rien. En revanche, j 'ai un vrai sujet avec le fait d 'habiter à 10 minutes de Paris. C 'est un vrai sujet dans ma vie. It's catastrophic But when I find the cinema And all of a sudden I find an identity I don't know Even if it's a cool That I'm the only one in my school Because the school in question of cinema It's called Saint-Sulpice And it's rue d 'Assass So all of a sudden it becomes cool That I choose to take a RER To come to you But you have a woman You have a woman who provoked a complex It's not the school, it's the school I'm collated But in the end, I'm the binôme of all the popular women.

34:34Okay. But it's not me the popular. But I'm cool. Because as I'm not the popular... Well, in fact, the popular women... I don't know, at your time, but I was the best. The hors norm. The very, very beautiful women. It was... Yes. Well, I was the best. Yeah, yeah, yeah. Yes, yes, yes. But also the ones who entered in the codes, have the good stuff, the good stuff. Yes, yes, yes. But of course, it was the envelope. So, I was the binôme of these women. I said these women because there were two who had been a child in my adolescence. They were sublimed. And so, I was also creating something else. Because I had well seen that I would not have been on the ground.

35:14I had no good sap, no good... But when you say that, why do you say that? You know, in these cases, you see that the interest that provokes... A young girl, by example. and then even the beauty, not necessarily plastic but the beauty, the beauty. In the standards of the era? Is it the era of the era? Is it the ever forever? I don't know, it's the question I'm asking. I'm sure it's the time, but the real beauty. I was with the belles, attention. Attention, you're not even with them? Yeah, I don't see it. I don't know, but I have still news about them. and we were on the beautiful plastic, the beautiful, the beautiful, I remember there was this thing of beautiful, beautiful, atrocious at an era where we classed the women, I don't know if we classed the men, but in any case, there was really this thing of the girl, after you could have the girl cool, but I didn't have the girl cool, it's marrant.

36:12You know, often, you had a girl who was a little bit of music. Maybe that I, at a moment, you were maybe the girl cool. I was passing the girl cool, I was passing the girl cool, Justement, au regard de ce binôme que je faisais avec la hors norme. Et du coup, je travaillais un peu mon humour parce que je me disais que c 'est le seul, les meilleurs boucliers que je puisse avoir. Donc du coup, ma rapidité d 'esprit me mettait peut -être à cet endroit-là. Pas pour tous, peut -être pas pour les mecs. Mais je suis devenue une assos. Je voyais que je devenais une assos d 'ambiance. Ou que j 'étais, comme j 'étais vite une fille de meute aussi, que je fédérais.

36:50but not for the same things that the girl of the class or even if it was the girl of the college in general, these girls were the whole entire establishment who was dreaming. What I find, I find, at the same time your films and at the same time your experiences today, publics, and even what you say about the adolescence when you say you have a very calm, I feel like you're really a girl, which I love. I've put time to be a girl at the college. I could be very jealous of the girls. I think that would have been It's hard for me to be the best. It was great. It was great because I had the beurre and the money.

37:25Because you don't have to look at the etymology of beurre and the money. I'm fine. It's very clear. It's the beurre and in plus, you're remboursed. Exactly. It's the case, right? I think, yes. I hope. It's the beurre and the money. It's very clear. Because it's still a failure to maintain the cap of the girl's top. So I had understood that. I realized that I was a little bit of a cotone. Because it's not a thing to stay at the top. And in addition, you enter into a period where all of a sudden, you can't have a subject on the weight, on the economic. In addition, at this moment, I have an impression of being a fossil.

38:05Because there's not H &M, for example. No, it's true. So at this moment, it's all to give. It's difficult to be cool also there. So I'm finally at a good place And I believe that I'm a good place After having a good place There's a lot of I'm going to go over the Périf I'm going to go over the bar Once I've finished it That I found my identity At the cinema That it takes a little place I was fine with the idea of being the pot of La Belle And then La Pote de La Belle was great Because it's true It was a ruse There's an interest for these women Yes, of course. But I think this tranquility comes from an education, where, for example, your parents put more value on the intelligence, the humor, the life vest.

38:52Or is it a lot of physical? It's not true that there's not that there's no way. I don't know. In the way, the humor is very important. It's essential. Just when you don't have the baggage or you don't have read enough books, all of a sudden, to look a little bit in a way, it's a save the life. And that I've learned very early too. also. But it depends, sometimes, because my father did a thing. When I was little, I said, what's he does? Why does he do that? When I was in the middle of the world, first, we arrived at three hours and a half before everyone. So, he was often wearing the panel that indicated the name of the colony to be able to help the poor animator who arrived there.

39:27And then, he went to buy a mini-viannoiseries and he offered them to all the gamut in saying, it's my wife, it's Geraldine who gives it. Because he was afraid that I pass the train to go to the camp of the Colo alone. He was going to have to pay his ass. But in real, all that, it's a thing about the relationship to the other, how we communicate, how we exchange. And how, when you're not the right size, or you're not reading the wrong book, you can at least make a mistake. It's true that it's a passport exceptional. But you're aware that you're aware of the labels and standards.

40:30to be able to be very very mode, to be quite... It's quite a bit very nice. Yes, but it's still... I'm still titred girl next door. It's not because I do the show that it's that it's a bad thing. It's a good article. There's a girl next door. Maybe you'll have written there. Preferred. Girl next door. I would like to have a wife like that. I'm bracing my wife who is by a way super. You know her name? Yes, Pauline. Inom. Inom. Inom. I'm bracing her name. I don't know, I don't know, I don't know, but what I want to say is that I don't support this thing of Girl Next Door because often I think it's a faux because for a long time also Virginie Fira was Girl Next Door.

41:08Ah, she was Girl Next Door Virginie Fira? At the beginning when she was in the beginning, she was a little... Because she was a good one, in fact. Oui. Because in fact, maybe that it's a little bit of a disappear. We don't have to be a paper glass or glass of paper. Oui. Non, but I think that maybe things change. Non, but Marine Vacte, it's not a Girl Next Door. Non. So in plus, it's a reality. It's true that you and I are more girl next door. At a moment, it's not a problem. Yes, but what I want to say is that, for example, have you already had, I imagine, comments where people want to stay girl next door?

41:40I mean, it's already happened, for example, to make sure I was able to post photos of me where I was beautiful, where I was different, where all of a sudden I was a little... And the people were there. I wanted to put your glasses on, and that you put your face on your face. I wanted to talk about it. Tell me, yes. Tell me it's a little. Because you say, I have the right to be that too. You're right. But when I do a show, it's what I say. I say, for all the people like me, it's cool. Because at this moment, it's hard to do. But the result, that I don't find out in plus, I say, it's cool. It's possible.

42:12And I feel like we're in the air of that also. Because naturally, we had to work on a positive thing. All of a sudden, you're going to throw a lot of desfiles. You're going to say, well, the regression is crazy. I mean, my daughter is more expensive. Yeah, they have the arms and jambes. Yeah, you see? Oh, yes, the arms and jambes. They have the arms and jambes. It's exactly right. No, the jambes and bras. The jambes and bras. But what's that? I don't know. It's terrible. I'm sure that the people follow us very well. You think? Yeah, I think they're in the same time. They're in the same time as we.

42:42The jambes and bras. I would like to put a pouce to all those who are in the same time. It's true. But since when you're also pointy on the mode? No, I've always liked it. It's corralled to this story of everything. qui brille aussi, je pense, de mon tout ce qui brille dans ma vie. C 'est -à-dire que, du coup, comme j 'ai analysé très fort, jeune, qu 'est-ce qui faisaient les attributs des gens qui appartiennent à, du coup, j 'ai formé mon œil à ça. Puis après, avec le temps, quand j 'ai fini d 'en avoir un sujet, parce que ça prend de l 'énergie de fou pour rien, ça, j 'ai commencé à poser mes yeux sur des trucs intéressants, comme l 'architecture ou la photo.

43:17Et là, tout d 'un coup, c 'est, t 'apprends en faisant, en regardant, tu vois, c 'est à l 'usage, quoi. And so it's corralled, it's been corralled The mode was not an attribute I'm from the other side of the periphery It became a thing like watching a photo Or going to Louvre I thought it was funny, I understand what I like I like the materials very thin, I like the organic When you touch it, it's not flat And so the intérêt of the mode It's even grown, but not in the same direction That at the beginning Because at the beginning, it was for to belong to A group It was only for that And when you say you have appris, you know your taste, and you know what you love, what you love, what you love, and what you love, what you love, what you love and what you love.

43:55Well, it's been a lot more time. It's been a lot more time because I've been able to do it, like I've finished with the objects, or you know, the materials, or the materials and all. So at a moment, I'm staying the clan of the water that I'm and at a moment, I'm saying that it's beautiful, I'll buy it. I'm wearing it. And all of a sudden, I said, but I'm not Diane Kruger. I can't allow it. It's not possible. I have still this 1 ,62 m, this one of meuf of Constantine. I have still this allure-là. So I can't do what I want. The sequin rose is sublime on the ACD. On the ACD, it's hard. You're sure?

44:31Yes, of course. You've tried? I'm sure it's mocious or it's beautiful on the ACD? No, it's what you've tried. I'm sure it's beautiful on the ACD. And I've tried. But because I've tried. I've even made the connery of believe it was possible. So yes, I've tried. You've made a big mistake. There's a big deal. I'm going to go and eat. If I look well, you can go and eat. You have to be a tempered for that? Not yet. It's Marion Cotillard who told me that I would end up with it. Not yet. Not yet? Not yet? Not yet. When you look at it, it does it tend? Yes, it does. Not yet. It does. I'm a bit more. I'm a bit more.

45:05Yes, but it does it because you're a period. I know that I'm a age. For example, I do it. I can't have worked so much, have taken my independence so much, I have been... I mean, it's not so much corralled at my age. I'm like, I'm like, I'm working young. So I was in contact. So I'm not going to say, but I was an student. I was working every day. I was in the metro. I saw the world around me. You know what I'm saying? I know exactly at which moment it's a reference. So I'm like, you're kidding me. But you think when you don't like when you see something like that, it's a question that I was asking.

45:42I was in the writing of a project who talked a lot of that. Ah, yeah? Yeah. Autour de quoi ? Du relaconsport ? Un truc très deep, mais où, par exemple, moi, je sais que j 'ai eu beaucoup de mal. Par exemple, des gens de l 'adolescence, il y en a plein que j 'ai. J 'ai un peu fait table rase sur certaines parties de ma vie et certaines personnes de ma vie. Et je sais que parfois, quand je revois, il y a des gens, par exemple, je les envie tellement, beaucoup d 'humoristes qui ont encore des anciens journaux intimes, qui peuvent mettre beaucoup des photos de petits, d 'ados. Tu veux dire que toi, t 'as brûlé tout ça ?

46:08Beaucoup de choses. Et par exemple, l 'autre jour, j 'ai vu une photo de moi ado où je n 'avais donc pas de sourcil. I did it, I did it, I did it. Not a sourcil, yeah. Super, super. Really, nothing. Nothing. Nothing. And for a while, I had a little bit of a tenderness on this thing. I was thinking, I was maybe prepared to a judgment that I had at the time. But not physical. It's more an thing. But I see it's emotional. It's a good thing. It's a win. It's 20 on 20, I think. It's great. It's already, yeah. It's super. Or, lecture plus ras des pâquerettes. J 'y ai, et comme je commençais à te taper, je suis là, bah t 'étais très mignonne.

46:48Je crois pas. Ça peut arriver, ça, mais je crois pas. Là, ce dont tu parles, je crois pas que ce soit ça. Parce qu 'il arrive aussi d 'avoir des photos de soi, on se déteste. Pour le coup, même, et tu les regardes six mois après, t 'es là, mais attends, j 'étais fraîche et jeune. J 'ai très souvent ça. Je me souviens exactement qu 'à ce moment-là, quand j 'ai essayé cette robe, je me suis dit, maman, je suis serrée, je suis moche. And when I look and why I'm crazy look I'm like, That's not a pain to have been mindfulness on my own. And then there's always a thing that I regret because my motherérer is like you.

47:22She's like it. She has eyes out. I said how to say, so lives with a pointe of agape. She has backhandedalies. The doctor Handley Brouds. And this thing I've never had it. I've tried to make this thing to you in real life. Cause looming a brand of futures. Ah, you did it? I did it, but when it was not Instagramable. It didn't exist in Instagram. I was a lot younger. I remember my mother told me, that's a sale, that you are a sale. Because it's true that it was a sale. But she was a real. But it was like you. It was beautiful. But I had a black hair on my own. Yeah, black hair on my own. It was not all black hair.

47:59It was awful. But it's true that you had done that. So at the time, everyone had to test it. No, but I was a passionately my mother. Yeah, you're right. Maybe in addition, it was not at all the mode. But I had understood. I had understood that the taches of the reds, my mother has the eyes, in plus. Ah, yeah. It's a total. It's a total. It's a total. The hair is soft like that. And I was thinking, wow, that, plus a bra in the plate, genre, I would have been max. You know what I mean? And I tried. And I was thinking, well, at a moment, the life is well done. It's not for me non plus. It's to say, all of a sudden, on my skin a little bit, the taches of the reds and everything, I don't have the carnation of the peat that it is.

48:32Well, so I ended up also by saying, well, écoute. And at the time you have the chance of being like these people who have the face that's not one single color and not one of 72 colors But no, it's only two You have the taches of red and the peau So you don't have to understand if you were bronzed or not Because you have the impression that you have But are you going to have plenty of taches? I don't know if I have plenty of or if they're intensifying I have a little more I have some places where I never have I don't know why I think it's better Ah ouais ? Je crois Mais l 'autre jour j 'ai vu un dermato qui m 'a dit Parce que j 'étais là, j 'étais à jour ou ça Elle me dit ça c 'est une d 'âge de vieillesse Tu vas pas faire l 'erreur de les retirer ?

49:16Non ! C 'est une actrice qui m 'a dit ça un jour Qui m 'a dit, je citerai pas son nom Elle m 'a dit, un jour on s 'est croisé à un festival Et elle m 'a dit Ah mais c 'est beau, t 'es à jour ou ça, j 'avais jamais vu, tu les caches à la télé Et j 'avais dit ah oui, je sais pas, non, avec le fond de teint Enfin bref, je sais pas, et puis les lumières elles sont tellement écrasantes And then she said, but you're rouss, in fact. And I said, well, no, no, I'm not rouss, but I'm a roussard and all. And she said, well, in all of a... But she said, it's a little like if she insulted me. In all of a sudden, it's very beautiful.

49:40You know, it's very beautiful, it's a roussard. And I said, well, I don't know, I'm not a fan. She said, well, in this case, let's take it away, because it's very well. And I was like, ah, yeah. It's very very nice. And so, she said, it's beautiful, but it's insult. Ah, yeah, retire-les, but it's beautiful. But no, it's true that I have a little... It's a fascination for the taches of your sister. And I find it beautiful to all ages. If it's the taches of Vies, I pick it up. I find it sublime. If it's the taches of Vies, you pick it up. Because you don't have any more. You have a very good quality.

50:06I'm going to take a mask of grossness. Ah, really? What we call a melasma? Not at all. Yes, it's that. Masks of grossness, but you've done that. It can be everywhere, a mask of grossness? No, I've done that. It's exactly what you show. Okay. For my second grossness. I didn't have a for my first and I didn't have a for my third. And for my second grossest, I had this. It was hard, so I had to get rid of it. So I had to get rid of it. I had to get rid of it. Yeah, it's hard. And then it feels like the port is panicked. Yeah. And then you have, what I always ask for, every time I ask things, I'm saying there's a social eviction.

50:41Because in fact... I can't tell you that you can't really do anything. And then you have to put a kind of tissue of grass on you. So even to sleep with your husband, it's complicated. Because you have the hair that... It's a delir. And your hair is like a big peeling. It's like if you were to peel after a big bite of the sun, which is not going to do. Because it's dangerous. It's very, very maîtrisé. It's got to know people who have the expertise of it. Who are doctors, of course. And it worked. After all your life, every day, you have to put a total screen. Thanks for the prevention. It's very, very important.

51:16And in addition, there are things... Not jojo. Bah ouais Il y a des trucs Pas jojo On sait qu 'il y a des cancers de la peau Qui tournent mal très vite Très vite Donc voilà Pas jojo Donc voilà Je fais vérifier mes crânes de beauté La semaine prochaine Ah c 'est vrai ? Mais je suis dégoûtée Elle a déménagé Elle fait que déménager Alors que je me disais Enfin quelqu 'un qui n 'est pas dans le Parce que j 'avais demandé son numéro Évidemment elle est dans le 16ème Oui elle était à Bastille Elle a envoyé un message Ah le rêve Et elle a envoyé un message hier Sur Doxolib En disant qu 'elle partait dans un cabinet Dans le 16ème Bien sûr Je suis dégoûtée because it's rare I think to find a dermatologist who only do medical so there's no more and she doesn't do medical but she always does it because she's in the but I want to go and she's in the way and she's in the way because she's doing she's doing the grains of beauty she's taking photos that I want because I just understand I understand because I asked to a dermatologist I said to her but at a moment I wanted to just to take a little little thing I said to her she said to me because it's not because it's not that it's not that if I was doing injections of collagen I said to her but you're where are you I'm not sure.

52:15They're rare in all of a sudden. And she, she does that medical. You know, I'm going to touch the things to retire. Yeah. But are you going to get rid of the things of the vieux who are like the tétines? Yeah, it's that. I don't know more than that. It's exactly that. The little expressions of the peat. It's really the old. It's really the old. It's not the old. It's not the old. And it's often in the cou. The cou. I'm going to get rid of the nuke. I'm going to get rid of the aissell. The aissell. Oh, my God. My friend, he's got a lot in the cou. I really want to get rid of it. but I think it's not really not even for the couple I mean, it's not that you have a routine you have a routine beauty?

52:49I have a routine beauty since I have 15 years, it's my mother who has and my routine is very simple I'm hydrating the body and the face after every shower, so if I take three per day it's three times per day not a... how do you call it? retinol, retinoline blah blah blah, anti-age I'm actress already, so I receive sometimes things like that, we have this chance, we offer some products or I will buy them because I read. I read that I also want to be her. I don't want to be a road. Because I have a little intolerance to taste taste. So it's not that it's an ode. It's not that it's an ode. Even if it's an ode that's not good, it's not a taste of a taste.

53:28So it's a choice when you want to feel an ode. So I'm a little bit of a taste. I'm a little bit of that. And I don't want to be a long time. I'm going to take a pill of water and magnesium. I'm going to take a few months. No problem. Like if it was a medical and I understand. And then it comes to inside of me. In other hand, I'm going to take a few more. I'm going to take a few more. That's a bit of an obsession. You're more on the hygiene. Yes, but I'm feeling that for me, it's better. And I'm hydrated because I'm a crocodile. So I'm hydrated, I'm hydrated. But it's true that after retinol and everything...

54:03For example, once I've heard... Il faut mettre un jour sur deux, le matin, pas le soir. Hop, ça m 'a matrixé. Je me suis dit, je vais faire une connerie. Et du coup, ça va régresser. Donc, j 'ai préféré arrêter qu 'aller me renseigner. Mais ton algorithme, il est hyper chic. Du coup, il y a des œuvres d 'art, de la mode et tout. Mais il n 'y a pas des gens qui montent du rétinol. Non, il y a beaucoup les Kardashians aussi. Ah ouais ? Beaucoup les Kardashians. Je n 'ai pas trop algorithme rétinol et tout. Mais Kardashian, ouais ? Ouais, Kardashian et consorts. Toute la famille. Ouais, toute la famille.

54:31Parce qu 'en fait, elles ont toute une pathologie différente qui me fascine. What are the pathologies?

54:38There's one who says that she doesn't understand why she's deprimed. She does a drink of water. It's a weird thing. It's a weird thing. It's a weird thing. I don't know how to imprimer. It's a bit like the sign of Zodiac. It's Kendall, Jenna, Trujillo. I don't know. She's not Kardashian. Ah, really? She's in the family, but she's not Kardashian. Ah, no. She's not Kylie Jenner. No, not at all. It's the girl. I don't know. I don't know. In all of a sudden, it's 20 on 20. She's not really. She also didn't cut a concombre, an onion, it's 10 years. There's Kim, who all of a sudden, his son sujet is becoming his daughter.

55:09Because his daughter, she performs on the scene. Ah, bon ? The most big of their children with the other. The 50th century West. Right. She performs. She's become blue. She has black. She's not a black. She has a piercing everywhere. She performs. But she talks. Ah, bon ? With the music. At which age ? I don't know, she's 15 years old. I imagine a child of 7 years old. Between 15 and 7 years old. Performer, it's like she had 7 years old. There's a thing that's very special. There's another one who was a little bit and became a carat of water. It's a thing that doesn't exist. It's very, very big.

55:49I don't have the glasses. It's like if I look at it often. There's a refusal for me to invest in an information basic which is just their name. I understand. And there's another one who is the one who does the least thing on her, as intervention, and is maquillée with a batter, who is all to eat everywhere. Yes, she does. She does a lot of food. Oh, really? But she does plenty of food when she does. But I don't have the name, I'm sorry. You're not sure. But she doesn't do anything. But she does not do anything. It's very exciting. In fact, I have a paradox. It's that I'm going to do it. but for all the time but are you listening no I don't know I don't know but it's very honest because of the way I'm going to watch they're looking at me naturally you know what I mean I don't have to watch I don't have to watch and especially they have an episode on Disney I think the thing that they have made I don't know the cargassion that for example it's true I don't know that for example I can't watch it's too much because it's too scripted I don't know how to say You want to see them in a moment Yes, they are scripted too Because you imagine Each one of their posts Instagram Is validated by a PR Or I don't know what But it's too bad So, I don't know So, I'm going to follow Like that, it's a little And then I'm going to recognize For example, Kim I find sublime It's your favorite Physically, it's your favorite Yeah, maybe it's because it's corralled To my age Physically, it's my favorite Ah, we need to stop On the right It's done Ah, because I'm in promo, in fact.

57:31But we were just thinking, I want to continue this conversation, I don't know how to do it. We're going to go in the middle, but we're going to leave. I don't know how much time it's going to talk. I was going to say, but it's how many time it's going to talk? I don't know, maybe 1 ,5 minutes, but all of a sudden, it's not going to talk. Franchement, everything is passionnant. It's passionnante. But you see how you're happy. I don't know how to go with the bronze. Yes, it's interesting. But you're going to put the photos? Of course, I'll put it in insert. Just to finish there-dessus your favorite is Kim My favorite is Kim The Bronze is Kim Thank you Géraldine Your film is released here I encourage everyone I wanted to talk about your actress but if you talk about two hours and a half it's better All right You'll see Géraldine again more for all these women as they are L5 Perfect.

58:27Thank you. It's rich. In reference. I'm terminated.

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