Alizée invited us to follow her on the set of her video,
and we’re not back yet.
19 February 2003, Parisian suburbs.
We’re on the set of Alizée’s new video
"J’en ai marre."
You’ve probably seen it already,
but you should be aware that these 4 minutes represent only the submerged part
of an iceberg of work.
And for the first time, the star has accepted to lift the veil
on some of the secrets of its making.
For this video, Alizée has always set the bar quite high.
Polished image. Several levels of interpretation.
Nothing left to chance.
"J’en ai marre" isn't an exception to the rule,
and even the set decoration, a glass cage,
has a precise explanation.
When you’re fed up,
you wish you could lock yourself in a room
and not listen to anyone, and to be all alone,
to think about what you’d like to think about.
So it's, actually, it’s an image of enclosure.
On paper, the idea seems simple enough.
But once on the set, everything suddenly becomes rather complicated.
First restriction, a spotless white set of 2500 square metres
where the tiniest speck of dust would show up.
And to enter the glass cage, it’s another matter altogether.
You have to suffer sometimes so that the image comes out beautiful,
as we can see by this somewhat painful sequence.
So I’m lying down. I’m on my knees in the cage.
I stay there for quite a long time and
I sing and walk around the sides of the cage.
And I’m on my knees, so I burnt my knees,
so I had 2 enormous swells on my knees.
Really very, very large.
And I couldn’t get on my knees anymore at all.
(Alizée had a work accident)
A: But afterward, it was impossible,
because my knees had doubled in volume.
[...] I had done all the takes on my knees.
Just a scare, since Alizée can count at any moment
on a team to assure her.
A team in her image. Discreet and very polite.
Even harder than the takes on her knees,
the ones involving water, which lasted for 5 hours.
Like a true professional, Alizée didn’t complain once.
Yet, her state of being aquatic
nearly turned into a state of being... pneumonic.
There’s a part where I’m in the water.
Actually, I’m against a glass.
The water runs along the glass.
But once you put your hand on it,
there's all the water coming down on us from above.
I only had to touch it with my finger to get my arm all wet.
And the water was frozen.
I felt like it was ice cubes, crushed ice that ran all over me.
The trouble is that we had to do several takes
and between each take, we had to dry my clothes,
wash my hair, redo my make up.
And I think we started over with that about 10 times.
After having been so cold, it was time to break the glass,
and here’s the explosive sequence of the glass cage.
I don’t know exactly how they broke the glass,
because we were rather far away and I believe it was Plexiglas.
Lets go!
Stop!
But I'm really the one who breaks the glass with a punch, however.
The one that's surrounding it is a fake,
and the little one that I punch, it’s really me who breaks it.
A short break, and a few desserts later,
the shooting begins again, but this time in the language of Shakespeare.
And Fan De offers you an exclusive of
some images of the music video in the English version.
Makes my mouth water
I'm "foamely" ecstatic
The recording lasted for 2 days and a night,
and in the end, the artist is quite pleased with the result.
With my uncle overstressed
Fumbling, crawling for something...
In fact, what surprised me is the way in which it was edited.
The speed at which the images appear.
All the takes mixed together.
I didn’t think it would come out like that, so it was a pleasant surprise.
Next week on Fan De:
Alizée exports herself.
The Japanese import her, and Fan De gives you a world tour
full of surprises as a last episode.
See you next week!