During his great hours on television, Nicolas Bedos was considered a sniper.
His good words were all scathing replies intended for the sometimes nervous guests of the programs in which he officiated.
Since then, he has become a director.
Monsieur & Madame Adelman
in 2017 with Doria Tillier,
La Belle Époque
in 2019,
OSS 117: Red Alert in Black Africa
in 2021 and today
Masquerade
, once again with Pierre Niney.
On the occasion of the promotion of this film, he is invited on the set of "C à vous".
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The program that does not separate the man from the artist
In the section "Express info", he is invited to react to an English television program entitled in French "Jimmy Carr destroys art".
The principle ?
Show artwork and then ask the audience if they want to keep the piece or destroy it.
Among the catalog offered by the show, a painting by Adolf Hitler or even a sculpture by an artist
“subsequently convicted of pedophilia”
.
“It's all the same treating evil with evil, because the last regime to have destroyed art was the Nazi regime, so it's a somewhat surprising answer. We can only observe that the era raises questions a lot, I find the importance or the non-importance of art"
comments the director before adding:
"we see it with some ecological activists, undoubtedly sincere, who are no doubt populated internally with anguish, anxiety for our planet.
But finally, they are moving towards Art, during the Covid we have questioned a lot precisely the importance of Culture.
It's a funny time for Art
.
The sirens of the 7th art called for a long time the son of Guy Bedos who confides to Anne-Elisabeth Lemoine to have had
"his first cinematographic erections in front of the dangerousness of Sharon Stone in Casino"
.
Since then he has shot Fanny Ardant, Isabelle Adjani, Marine Vacth and Emmanuelle Devos.
In 2020, he was awarded the César for Best Original Screenplay for
La Belle Époque
.
The edition which saw the exit of the room of Adèle Haenel following the price awarded to Roman Polanski.
An event in the entertainment world which had launched the debate
"should we separate the man from the artist"
.
A question that seems to pursue him.
