Sylvain Chomet discusses A Magnificent Life, Joker: Folie à Deux, and his return to Triplets of Belleville.

      “The concept of the young [Marcel] Pagnol visiting his older self doesn't exist in his works,” director Sylvain Chomet shares regarding A Magnificent Life, his first film in fifteen years, which presents a nostalgic animated depiction of one of France’s finest artists. “The narrative of him encountering himself is my own invention. I don’t want anyone to think it’s derived from a book; that isn’t the case at all.”

      While the French filmmaker stresses his creative influence on the narrative structure, he emphasizes that every tale in the film is rooted in Pagnol's actual experiences, even reflecting precise dialogue. As he navigates through significant events in Pagnol’s life and career, offering an in-depth exploration of the filmmaking process, Chomet portrays a man of principles amidst a transforming culture, all beautifully rendered in hand-drawn digital animation.

      Prior to the film's U.S. release this Friday, I conversed with Chomet about his animation methods, the utilization of real footage from Pagnol’s films, the film's ties to Martin Scorsese’s The Aviator, his collaboration with Todd Phillips on Joker: Folie à Deux, and his upcoming return to the universe of Triplets of Belleville.

      The Film Stage: One of the scenes I particularly enjoyed is when Pagnol discusses the necessity of safeguarding cinema, even in France. This is especially relevant today given the U.S. government's discussions surrounding art, culture, and tariffs. He articulated this long ago; how was it for you to include this perspective in the story?

      Sylvain Chomet: Every line in that speech originates from him. It was crafted shortly after the war, so it's quite dated. However, Pagnol understood cinema to be a powerful instrument. He recognized this from Adolf Hitler, who extensively used film to promote his ideologies. Pagnol was acutely aware that cinema could alter a culture.

      He didn’t oppose American cinema; in fact, he adored it. He had a close friendship with Orson Welles and was perpetually intrigued by American culture and film. However, he didn’t want American cinema to dominate the viewing landscape in France. Thus, he proposed that the profits made by studios in France would fund French cinema, which explains why we still have a vibrant cinema today, whereas some countries have not been as fortunate. Some nations have truly lost their cinemas due to the lack of protective measures.

      He was correct, as this remains relevant now. There is a quota that prevents a predominance of American films. When he discussed how cinema could significantly transform cultural elements, he didn’t predict the influence it would have on food habits. I included that aspect since I have lived beyond his time and can see the changes that occurred. Yet, his perspective was not anti-American cinema; it could have pertained to any foreign cinema, such as Russian or Italian, both of which suffered due to a lack of protective policies. I am glad that France implemented such measures, allowing its cinema to flourish.

      I appreciated how you incorporated his actual live-action footage into the film. I imagine that decision was made early on, but how vital was it for you to present a glimpse of his true genius and the audience's responses to it?

      Absolutely, that was essential. I’ve done something similar in my previous films. In The Triplets of Belleville and The Illusionist, characters view live-action as if peering through a mirror or into a parallel universe. They are always observing a screen, rather than displaying the full frame, which would seem odd. This method allows it to function like the other side of a mirror, adding a humorous touch.

      I also adjusted the look of the live-action footage to have a more graphical quality, applying filters to avoid a pristine appearance. It's crucial to actually see the real actors, such as Raimu, Orane Demazis, and Jacqueline Pagnol; it’s nice to witness them in real life.

      Interestingly, Nicolas Pagnol, Marcel Pagnol's grandson, made a lovely comment: after a while, it feels as if the animated portion represents real life, while the live-action looks animated. That was intentional; if it were merely an animated film, audiences might question its reality. However, every story depicted in the film is based on true events. The only fictional elements involve the young and old Marcel. Most incidents, like the one involving the sheep, are authentic stories directly from Marcel Pagnol's memories. I felt it necessary to state "based on a true story" at the outset because many viewers would inquire post-screening, “Is that true?” and my answer was always, “Everything is true.” I wouldn't fabricate a person's life.

      You mentioned the aim of making the narrative universal. You referenced Scorsese’s The Aviator, emphasizing that viewers don't need prior knowledge of Howard Hughes’ films to appreciate it. Having seen a few Pagnol films myself, I