Having made his name in TV, stand-up comic star Jamel Debbouze, made his screen début in 1998 with Zonzon and Le ciel, les oiseaux et… ta mere! He catapulted to international success with his comedic role of Lucien in Amélie (2001) and, again with, Asterix and Obelix Meet Cleopatra with Alain Chabat (2002).
Jamel’s career took a more serious turn with the release of Rachid Bouchareb’s Indigènes (2005) which was devoted to the “forgotten heroes” of World War Two, and finally received top billing for the first time with Angel-A.
First meeting with Luc Besson?
In Normandy. He’d washed up on a beach and I brought him back to life. To thank me, he offered me the lead in his next movie. We’ve been inseparable ever since.
First time the film was mentioned?
That was in Cannes. He said, “You’re wonderful, darling” and I replied, “You’re wonderful too, darling”. He added, “Let’s make a movie and enjoy making it as much as watching it!”
We bumped into each other quite often after that – we have a lot of mutual friends – and one fine day, he gave me the script of Angel-A and said, “I can’t claim to know you very well but I think I’ve written something you’ll like. Get back to me.”
First reaction?
I found his approach extremely generous. I got a real sense that he had written the film for me and, strangely, he’d got a pretty good handle on me. I know what he was thinking of when he was writing and I know where he wanted to take me, while keeping in mind everything I wasn’t sure about, everything I really wanted to try and everything I refused to do.
First day of shooting?
I did two things I don’t usually do. First, I arrived on time, at 5 a.m. on the dot, not just because I wanted to impress him but also because I didn’t have much choice. It was vital to know your lines inside-out to avoid wasting any time and to fit in with Luc’s precision. But above all, I placed my trust in him, which is very rare. I’m an animal.
People have so often taken me for a ride, or made promises they never keep, that I’m often on the defensive. But Luc seemed so sure of what he was doing, I gave him my trust.
Including for the first stunt?
Obviously. He wanted me to jump off a bridge! You have to have trust… and life insurance! Having said that, Luc was always there to reassure me. He has something that’s very special: he worries about the actors’ state of mind.
First surprise?
The weird thing is that, at times, Luc shot the film like it was a no-budget short – seven or eight of us in a van driving round Paris, him with the camera on his shoulder, until we found a spot he liked. Then we’d pile out and shoot the scene. I really believe that, with this film, he rediscovered the buzz of when he started out. He actually told me that it sometimes reminded him of The Last Combat.
First encounter with Rie Rasmussen?
All I can tell you is that it was in room 110 of a hotel. But I won’t divulge any details!
First encounter with Gilbert Melki?
Room 110 as well, but not at the same time.
First time “Jamel the stand-up” made an appearance?
Not before the last-day party. Up until them, I was determined to keep focused. I didn’t want to let this pass me by. In this business, there are a lot of con-artists and Luc isn’t one of them. He took me seriously, so I was determined to take his film seriously.
First images of the film?
The last day. Luc had edited together some outtakes, without any grading or sound-mixing, that really made you want to see the whole movie. I am really proud to have done this film. It enabled me to work on things I didn’t know about myself and that Luc brought out. He drew me towards a music I had never heard from myself.
First Luc Besson movie you saw?
Nikita, and it was a real Nikita in the face! It was a mix of everything I loved about American movies and everything I adored in French films: a strong story, meaning and real direction, with intelligent action sequences where every bullet is there for a reason. If there’s one thing that Luc does that really impresses me, it’s that he can relate to the people he’s trying to reach. It’s a real virtue: you sense that he is sincere and when you see his films, you’re sincerely touched.
Related Links
Angel-A
Continue Reading and View the Theatrical Trailer
Angel-A Intervew: Luc Besson from A to Z (2007)
Angel-A: Who Are You, Rie Rasmussen? (2007)
Angel-A (2007)
Directed by: Luc Besson
Starring: Jamel Debbouze, Rie Rasmussen, Olivier Claverie, Gilbert Melki, Kate Nauta, Serge Riaboukine, Akim Chir, Venus Boone, Jérôme Guesdon, Solange Milhaud, Michel Chesneau
Screenplay by: Luc Besson
Production Design by: Jacques Bufnoir
Cinematography by: Thierry Arbogast
Film Editing by: Christine Lucas Navarro, Frédéric Thoraval
Costume Design by: Martine Rapin
Music by: Anja Garbarek
MPAA Rating: R for language and some sexual content.
Distributed by: Sony Pictures Classics
Release Date: May 25, 2007
Visits: 143
