"I came close to depression, I was very depressed at the idea of ​​not being able to shoot", confides in an interview with AFP the director of the cult film "The fabulous destiny of Amélie Poulain" (2001), one of the biggest worldwide commercial successes for a French film.

The one whose filmography has accumulated nearly 21 million box office admissions tells the story of the obstacle course that was the release of "BigBug", a dystopian comedy against a backdrop of war between humans and robots, with Elsa Zylberstein, Isabelle Nanty and Dominique Pinon (two of his favorite actors).

"Concretely, nobody wanted it in France. I heard the same words, the same sentences as for + Delicatessen + (1991, his first feature film, editor's note) and for + Amélie +: it's too weird, too offbeat. So too risky," he says.

As the project is about to fall through, the 68-year-old director receives a phone call from the American streaming giant: "They said yes to the project in 24 hours. Thank you Netflix!", he said.

Director Jean-Pierre Jeunet poses during a photo shoot on February 2, 2022 in Paris JOEL SAGET AFP

Hypocrisy

With Jean-Pierre Jeunet, Netflix offers itself a new big name in world cinema.

From Alfonso Cuaron in 2018 with "Roma", to Jane Campion's western "The Power of the Dog" - leading Oscar nominations - to Maggie Gyllenhaal's "The Lost Daughter", Netflix is ​​investing more than ever in the 7th art.

If the director's latest films have not had the success of the previous ones - less than 700,000 admissions for "TS Spivet" (2013) against nearly 4.5 million for "A Long Engagement Sunday" (2004) or nearly 9 million for "Amélie Poulain" - the director's name enjoys an aura within world cinema.

However, the platform continues to be frowned upon by many directors for whom the theatrical release of their films is an essential prerequisite before landing on the platforms.

A false debate for Jean-Pierre Jeunet for whom "things do not replace each other, they add up": "the platforms have not replaced the cinema, which has not replaced the theater. There will always be films in theaters for major films. The world is changing, you have to adapt".

And to denounce the hypocrisy of an industry where "marketing has taken over and now the decision-makers are people who come out of business school and who explain to you how to make a film".

Director Jean-Pierre Jeunet poses during a photo shoot on February 2, 2022 in Paris JOEL SAGET AFP

- Half a billion -

But above all for the director, the anxiety of the theatrical release is over: "As soon as a film is released, we have our eyes riveted on the number of entries. When we tell you there are 200 spectators, it's a disaster. There, there are half a billion potential spectators since they have (about 220) million subscribers. If 1% watches it, that's a lot of people, "he says.

"When I started signing with Netflix, they laughed at me. They said 'you shouldn't' and today everyone calls me to tell me they want to go," says -he.

If he assumes with "BigBug" a break on the form, the bottom remains of Jeunet all spat: "Those who like my work will love it; those who don't like it will love to hate it", he ironically.

Supernatural, childhood, imagination: Jean-Pierre Jeunet returns to his favorite subjects with an obsession, "to make films that are pleasant and playful".

And to drive the point home: "there are two kinds of directors: those who constantly renew themselves, but who have no style. And there are those who always make the same film, in a way: Tim Burton, Woody Allen ... I rather subscribe to this tradition. At the risk of getting tired faster, it's true".

© 2022 AFP