Jean Girault Regie in Filmen
Jean Girault war ein französischer Filmregisseur und Drehbuchautor. Jean Girault (* 9. Mai in Villenauxe-la-Grande; † Juli in Paris) war ein französischer Filmregisseur und Drehbuchautor. Jean Girault. geboren am , gestorben am französischer Filmregisseur und Drehbuchautor. Regie in Filmen. Entdecke alle Serien und Filme von Jean Girault. Von den Anfängen seiner 20 Karriere-Jahre bis zu geplanten Projekten. Ihre Suche nach "jean girault" ergab 35 Treffer. Sortieren nach: Bitte auswählen, Interpret A-Z, Interpret Z-A, Titel A-Z, Titel Z-A, Preis aufsteigend, Preis.
Erscheinungsdatum, Regisseur, Jean Girault. Sprache, Deutsch, Französisch (Untertitel: Französisch). EAN, Genre, Komödie. Der Gendarm von Saint Tropez ("Le gendarme de Saint Tropez") (F/I) mit. Louis de Funes, Genevieve Grad Regie: Jean Girault Länge: 92 Min. Kaum haben die vier hübschen Politessen den Flics von St. Tropez den Kopf verdreht, sind sie auch schon entführt. Eine solche Schmach für Frankreichs. Der Gendarm von Saint Tropez ("Le gendarme de Saint Tropez") (F/I) mit. Louis de Funes, Genevieve Grad Regie: Jean Girault Länge: 92 Min. Kaum haben die vier hübschen Politessen den Flics von St. Tropez den Kopf verdreht, sind sie auch schon entführt. Eine solche Schmach für Frankreichs. Erscheinungsdatum, Regisseur, Jean Girault. Sprache, Deutsch, Französisch (Untertitel: Französisch). EAN, Genre, Komödie. Jean Girault. Film (DVD). Zustand: Gebraucht - Sehr gut, Zustand: Gebraucht - Gut. sofort lieferbar. % SALE %. Neu 9,99 € Sie sparen 2,55 € (26 %). Preis 7,44 €. Der Gendarm vom Broadway von Jean Girault DVD bei sfbok30.se bestellen.
Jean Girault VideoL'avare 1980 - Casting du film réalisé par Jean Girault et Louis de Funès
Jean Girault VideoLe gendarme à New York (Jean Girault, 1965) Le gendarme de Saint Tropez. Jean-Michel Charlier. Deutsch, Französisch Untertitel: Französisch. Nun geht es den Ganoven an den Kragen, den Falschparkern und Read more. Louis de Funes: Balduin der Ferienschreck.
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Thank you! Despite Jodowowsky's project falling through, it had attracted the attention of other movie makers. One of them was Ridley Scott who managed to reassemble a large part of Jodorowsky's original creative team, including Giraud, for his science fiction thriller Alien.
Hired as a concept artist, Giraud's stay on the movie lasted only a few days, as he had obligations elsewhere.
Nonetheless, his designs for the Nostromo crew attire, and their spacesuits in particular, were almost one-on-one adopted by Scott and appearing onscreen as designed,  resulting in what Giraud had coined "two weeks of work and ten years of fallout in media and advertising".
Scott was taken with Giraud's art, having cited "The Long Tomorrow" as an influence on his second major movie Blade Runner of see below , and invited him again for both this, and his subsequent third major movie Legend of , which Giraud had to decline in both cases for, again, obligations elsewhere.
He especially regretted not having been able to work on the latter movie, having deemed it "very good",  and it was still on his mind as late as , as he directly referred to the movie when he made his "unicorn" statement regarding his legacy, quoted below.
The heavily "Arzach"-inspired last, "Taarna", section of the movie, has led to the persistent misconception, especially held in the United States, that Giraud had provided characters and situations for the segment, albeit uncredited.
While not particularly pleased with the fact, Giraud was amused when third parties wanted to sue the Americans on his behalf.
Still, Alien led to two other movie assignments in , this time as both concept and storyboard artist.
The first one concerned the Disney science fiction movie Tron , whose director Steven Lisberger specifically requested Giraud, after he had discovered his work in Heavy Metal magazine.
Outside his actual involvement with motion pictures, Giraud was in this period of time also occasionally commissioned to create poster art for, predominantly European, movies.
Slated for the production was Arnie Wong, whom Giraud had met during the production of Tron and, incidentally, one of the animators of the vaunted "Taarna" segment of the Heavy Metal movie  , and it was actually Disney whom Giraud offered the production first.
Disney, at the time not believing in the viability of such a production in animation, declined. Another member of the commune fronted some of the money for the project to proceed, and the production was moved to Wong's animation studio in Los Angeles.
Much to Giraud's disappointment and frustration though, the project eventually fell apart for several extraneous reasons, most notably for lack of funding, as related above by the artist.
Some of the concept art was reprinted in the art book "Made in L. Yet, despite this failure to launch, it did lead to his, what can be considered, "second Hollywood period" in his "American period".
Concurrent with his career as a comic artist in the United States, invitations followed to participate as concept artist on Masters of the Universe , Willow , The Abyss , and finally Yutaka Fujioka's Japanese animated feature film Little Nemo: Adventures in Slumberland , for which he was not only the conceptual designer, but also the story writer.
It was for this movie that Giraud resided in Japan for an extended period of time. His definitive return to France in marked the beginning of Giraud's third and last movie period.
Giraud made original character designs and did visual development for Warner Bros. The documentary made for this occasion was testament to the great friendship both men had for each other.
She started at the crack of dawn, and only went home in the evening, after the whole team had stopped working. In his graphic novel short, "Cauchemar Blanc", was cinematized by Mathieu Kassovitz , winning Kassovitz but not Giraud two film awards.
A series for French television broadcaster France 2 , it consisted of fourteen four minute long animated vignettes, based on Giraud's seminal character, for which he did the writing, drawings and co-production.
Young daughter Nausicaa had voice-over appearances in three of the episodes together with her father. Two previous attempts to bring Blueberry to the silver screen in the s had fallen through; American actor Martin Kove had actually already been signed to play the titular role for one of the attempts,  and who, as it turned out decades later, had even traveled to Europe to shoot some test-footage scenes from the comic series in this role in order to entice potential investors.
Convinced that the project was a viable one, Kove has revealed that he, together with the two Blueberry creators, put up his own money when the project was falling apart due to arguments about funding among the would-be producers.
Moebius Production served as a production company, with Isabelle Giraud serving as one of its producers. Giraud's working methods were various and adaptable ranging from etchings, white and black illustrations, to work in colour of the ligne claire genre and water colours.
To distinguish between work by Giraud and Moebius, Giraud used a brush for his own work and a pen when he signed his work as Moebius.
Giraud was known for being an astonishingly fast draftsman. Aided with the use of mind-expanding substances in the first part of his career, Giraud had cultivated various New Age type philosophies throughout his career, such as Guy-Claude Burger's instinctotherapy, which influenced his creation of the comic book series Le Monde d'Edena.
Vision and style: In the documentary MetaMoebius he claims his different styles may stem from his short-sightedness.
When drawing without glasses he is more attuned to fine details but disconnected from the external world, but when drawing with glasses on he does not get into details but is more aware of the big picture.
He often starts with glasses on to have a global perspective then later continues without glasses. Giraud died in Paris, on 10 March , aged 73, after a long battle with cancer.
Many friends and representatives from the Franco-Belgian comic world and beyond attended the services, mirroring Giraud's entire career in the industry.
Throughout his entire career, Jean Giraud gave numerous interviews both in Europe as well as in the United States, but it is the series of interview sessions conducted by comics journalist Numa Sadoul that warrants special attention.
For editorial reasons, Sadoul omitted some of the outside testimonials from the second edition for his third. Posthumously published, the title was fully sanctioned and endorsed by Giraud's widow Isabelle who provided a foreword — praising Sadoul for his friendship and tenacity — family pictures, privately created art and additional details on her husband's last two years of his life and has therefore become the closest approximation of an "official biography" of the artist when discounting his own Inside Moebius autobiographical comic and his precursory text autobiography Histoire de mon double.
Giraud himself considered his "enhanced" autobiography on which he had worked for a year, a "funny" piece of work, conceding that accuracy was left to be desired as he could not be bothered to correct mistakes made therein, finding "flavor" in the small inaccuracies, and also admitting that he gave his work only a cursory glance afterwards.
Having kept more detailed records, the second edition took in total 19 hours and 45 minutes of interviews conducted between 18 and 21 October at the Sadoul's home in Cagnes-sur-Mer for which Giraud and his future wife Isabelle especially traveled from Paris , augmented with an additional two hours at Giraud's home in Paris on 17 August The third edition accounted for a further 10 hours and 48 minutes worth of interviews, conducted between 15 September and 28 December , either at Giraud's home in Paris or over the telephone.
Sadoul acknowledged that the three series of interview sessions were snapshots in time of Giraud's life and career, causing the artist to occasionally contradict himself in later life — something Giraud himself actually addressed in a humorous fashion in his Inside Moebius comics by regularly confronting his older self with his younger versions — , but chose not to redact or edit such earlier made statements at most adding short, clarifying editorial annotations , instead transcribing these exactly as made at the time.
Sadoul's reasoning was that by doing so, it reflected truthfully the spiritual development the artist had undergone throughout his career.
They said that I changed their life, 'You changed my life', 'Your work is why I became an artist'. Oh, it makes me happy. But you know at same time I have an internal broom to clean it all up.
It can be dangerous to believe it. Someone wrote, 'Moebius is a legendary artist' I[t] put[s] a frame around me.
A legend — now I am like a unicorn. Many artists from around the world have cited Giraud as an influence on their work.
Through Arzach , which dates from , I believe. I only read it in , and it was a big shock. Not only for me. All manga authors were shaken by this work.
Unfortunately, when I discovered it, I already had a consolidated style so I couldn't use its influence to enrich my drawing.
Even today, I think it has an awesome sense of space. I fell out of love with American comics, lost interest in the super-hero subject matter, was more interested in the fantasy I saw in the European art.
So it's entirely fair to say, and I've said it before, that the way Neuromancer-the-novel "looks" was influenced in large part by some of the artwork I saw in Heavy Metal.
I assume that this must also be true of John Carpenter's Escape from New York , Ridley Scott's Blade Runner , and all other artefacts of the style sometimes dubbed 'cyberpunk'.
Those French guys, they got their end in early. You see it everywhere, it runs through so much you can't get away from it.
He is a master draftsman, a superb artist, and more: his vision is original and strong. I wanted to make comics like that when I grew up.
He's a unique talent endowed with an extraordinary visionary imagination that's constantly renewed and never vulgar.
Moebius disturbs and consoles. He has the ability to transport us into unknown worlds where we encounter unsettling characters. My admiration for him is total.
I consider him a great artist, as great as Picasso and Matisse. Your body died today, your work is more alive than ever. France has lost one of its best known artists in the world.
In Japan, Italy, in the United States he is an incredible star who influenced world comics. He was an incredible producer, he said he wanted to show what eyes do not always see.
It has been noted that the quality of the translations of HM Communications has been poor. A far more comprehensive effort was undertaken at Marvel Comics under its Epic imprint in the late s and early s, initiated, translated and introduced by Jean-Marc and Randy Lofficier.
When initiated, the collections were otherwise unaltered published in Great Britain as well, with a lag ranging from a few months to a year, by Titan Books in a smaller print run of 6.
Art Books — In between, Epic Comics did release four stand-alone art book titles, with Chaos and Metallic Memories reproducing most of the original: .
The Elsewhere Prince While Giraud with Lofficier was only the co-writer of this US standard comic book mini series, which took place in "The Airtight Garage" universe, there was additional art from him featured in short accompanying editorials, as well as one to two page short stories.
Onyx Overlord — By Giraud co-written sequel to The Elsewhere Prince , and like that series, also featuring additional art from his hand.
While Giraud was very pleased with Shanower's art for The Elsewhere Prince for its "naive qualities" he found very fitting for the story-arc, he was deeply disappointed with Bingham's art for Onyx Overlord , considering the work of the "old comics veteran" uninspired and "truly undignified", suspecting Bingham did not like the work.
Because of this, Giraud decided not to dispatch the already completed scenarios for Logs 5 and 6. Disappointing sales of the European editions left the cycle uncompleted indefinitely.
Moebius' Airtight Garage Standard US comic book reissue of the graphic novel, with some additional art in the editorials. In the editorial of the novel p.
The Abyss This mini comic book series, is the comic adaptation of the eponymous movie. The eight-page editorials in each are dedicated to the production design art Giraud had provided for the movie.
Concrete This special in the Concrete comic book series, featured the first time, full color publication of the page short story "The Still Planet", set in the Edena universe.
The first title was released in October Kitchen Sink Press was a publisher of underground comics, explaining the French Ticklers series, and had connotations with HM Communications, adopting some of its artist after the latter had become defunct.
Concurrently they had merged with Tundra Publishing in , explaining the Visions of Arzach anthology art book. French Ticklers A short-lived comic book series, collecting work from French underground comic artists, including Giraud.
Legends of Arzach This original American publication consists of six, 9. Humanoids releases these latter-day hardcover editions, usually without dust jacket, in variant size formats, US graphic novel format trade editions , oversized format which is essentially the larger, standard European graphic novel A4 format , and the even larger coffee table format, the latter typically in a limited print run.
The post Humanoids editions are also intended for, and disseminated to, the British-Canadian and UK markets, with the exception of two Incal editions, which were licensed and featured variant cover art.
The Metabarons Giraud had created one 8-page short story "Au coeur de l'inviolable meta bunker" in ,  focusing on one of the major secondary characters from the Incal saga, The Metabaron, whose ancestry later received its own The Metabarons spin-off series.
The Incal — Excepting the early co-productions with DC Comics, all subsequent editions feature the original coloring. Considered a commercial failure, Beltran's coloring has never been used again after the initial international releases, be it in the United States or elsewhere in the world.
Madwoman of the Sacred Heart — With the translation of volume 3 of the series, "The Sorbonne's Madman", these anthology collections complete the series.
The anthology editions below however, feature the Moebius page original as well as a bonus. The Magic Crystal — Executed as softcovers in the European graphic novel format.
Still, the story did see a contemporary English-language publication, with elaborate annotations from its authors, in this graphic novel anthology.
Giraud provided the promotional poster art for this outing, but not the cover. Noteworthy are his storyboards for the abandoned Internal Transfer movie.
Lofficier reprised his role as series editor for these comic book outings. Especially created for the organization, the full color, standard European comic album sized, brochure was widely disseminated by the organization in French, English, Mandarin, Arabic and Spanish.
The English language edition enjoyed a first print run of 48, copies, augmented with a 40, copy reprint run in May From Wikipedia, the free encyclopedia.
This article is about the French comic book artist. For the French mathematician, see Jean Giraud mathematician. For the French film director and screenwriter, see Jean Girault.
Blueberry Arzach The Incal. Claudine Conin m. Isabelle Champeval m. I got ulcers at the publisher, they behaved horribly.
They are all — and I weigh my words carefully — pigs and assholes. The way they treated their artists — who provided them with their bread and butter in the first place — was despicable, inexcusable.
There was no social insurance, no pension arrangement, etc. I know people who wound up in unbearable circumstances, who were fired and ended up in dire straits It was not a particularly bright thing to do on the publisher's part, they should have nurtured their stable of artists instead, if only for strategic reasons.
In May '68 we, together with the union, convened a meeting to which we invited the responsible editors. But it was only Goscinny who showed up.
There he stood, entirely alone, before an agitated mob who went after him, instead of conducting a dialog, discussing the problems.
I was one of them, and ripped into him mercilessly. He was previously led to believe in private, that we all could come to some sort of arrangement together, and now he had to take all this abuse.
There were even some guys who called him names and threatened him. Goscinny really found himself in an awful situation. He took it very hard, and I can not blame him, it was simply unjustified.
I believe that he has never been able to put it behind him We demanded answers, proposals, improvements from him. But you cannot expect that from a man like Goscinny: Every attack hurt him deeply, had him choking on it, had him freeze Ever since, Goscinny distrusted his co-workers, especially me, because I was the only representative of the Pilote team, whose interests I represented.
I was captivated, I discovered another life, a new way of thinking. It of course already landed in fertile ground, but because of Jodorowsky, all the more so.
It was his way, by giving me these books, to influence me. One influences each other in daily work, one disagrees with each other.
But with these books, he hit the nail on the head, these texts moved me to the core! And I let myself be affected. I find myself in a curious phase I believe I'm on a turning point in my life.
I experienced something similar when I read " Steppenwolf " by Hermann Hesse : I could then accept much of what I suppressed until then, or did not even acknowledge, even if they were fundamental truths in reality.
In Castaneda's books, reality is constantly questioned — and that's shocking, earth-shattering. The same experience is possibly experienced when one reads the early Christian texts, or some other mystic text: Enlightenment can be found through anything, through Zen , Nazism even.
I found it through Castaneda. In the album — composed from Blueberry's Geronimo recollection segments as featured in the five-volume OK Corral story-arc — Geronimo's son Dust is captive of the whites and imprisoned in a Native-American boarding school , headed by a misguided and puritanical parson, who ruthlessly tries to "civilize" his wards.
Blueberry manages to free Dust and return him to his father, whereas the parson's sympathetic daughter is killed in the process, presented as a thinly veiled moral punishment for her father's wrongdoings.
Though an anachronism in the comic, the boarding school is clearly patterned after the historical Carlisle Indian Industrial School , where cultural assimilation of Native Americans into white society was attempted, and the story stands out as Giraud's most outspoken condemnation in his main body of work of the white American's attempts to snuff out Native-American culture.
She cited the speech , as she was very touched by it. When I read it, it awoke an ancient anger within me, [the same anger as "Cauchemar Blanc" twenty years earlier], absolutely the same anger, the same outrage.
And this is the extent of my political engagement. I take an emotional stance, when I'm deeply moved.
Then I am unable to suppress the impulse to create a pamphlet! Liverpool University Press. In the book his mother Pauline is also featured in her only known interview, relating events surrounding Giraud's earliest years such as the family's headlong flight from the German invaders during the tumultuous Blitzkrieg months, being bombed by Stukas along the way.
Whereas the relationship with his mother had been mended, Giraud also divulged that he had no memories of his absentee father Raymond, before the age of Archived from the original on 3 September Retrieved 3 October Moebius 9: Blueberry.