| Paul Grimault | ... | Lui-même / Himself | |
| Anouk Aimée | ... | Elle-memê / Herself / La voix de la bergère | |
| Mathieu Demy | ... | Le petit clown (voice) | |
| Jean-Charles Rousseau | ... | L'épouvantail / Le robot (voice) | |
| Pierre Tchernia | ... | L'oiseau (voice) | |
| Lionel Charpy | ... | Le roi (voice) | |
| Gary Chekchak | ... | Le ramoneur (voice) | |
| Frank Laurent | ... | Le voleur de paratonnerres (voice) | |
| Alain Costa | ... | La photo animée (voice) |
Directed by | |||
| Paul Grimault | |||
| Jacques Demy | (collaborator) | ||
Writing credits | ||
| Paul Grimault | (written by) & | |
| Jacques Demy | (written by) | |
Produced by | |||
| Paul Grimault | .... | producer (uncredited) | |
Original Music by | |||
| Wojciech Kilar | |||
Cinematography by | |||
| Raymond Picon-Borel | |||
Film Editing by | |||
| Marie-Josée Audiard | |||
| Sabine Mamou | |||
| Chantal Quaglio | |||
| Marie-Christine Rougerie | |||
Production Design by | |||
| Roger Duclent | |||
Makeup Department | |||
| Éliane Marcus | .... | makeup artist | |
Second Unit Director or Assistant Director | |||
| Lionel Charpy | .... | second assistant director | |
| Patrick Colin | .... | first assistant director | |
Sound Department | |||
| Michel Garnier | .... | sound technician | |
| André Hervée | .... | sound | |
| Gérard Lamps | .... | sound re-recording mixer | |
Visual Effects by | |||
| Eric Larapidie | .... | scanning and recording | |
| Gérard Soirant | .... | scanning and recording | |
Camera and Electrical Department | |||
| René Chabal | .... | assistant camera | |
| Louis Cochet | .... | gaffer | |
| Eugène Delsuc | .... | grip | |
| Franco Milia | .... | test camera operator | |
Animation Department | |||
| Gabriel Allignet | .... | animator | |
| Simone Bobin | .... | animation designer | |
| Paul Brizzi | .... | animator | |
| Sylviane Burnet | .... | animator | |
| Moran Caouissin | .... | animator | |
| Lidia Cardet | .... | animation designer | |
| Jean-Manuel Costa | .... | volume animator | |
| Laurence Desmartins | .... | color artist | |
| Jacqueline Gelot | .... | animation designer | |
| Paul van Geyt | .... | animator | |
| Françoise Gillot | .... | animation designer | |
| Pierre Grimault | .... | color researcher | |
| Daniel Jeannette | .... | animator | |
| Philippe Leclerc | .... | animator | |
| Patrick Mate | .... | animator | |
| Fanny Poulard | .... | color artist | |
| Jean-Jacques Prunès | .... | animator | |
| Agathe Roso | .... | color artist | |
| Bernard Roso | .... | animator | |
| Raymonde Roso | .... | color artist | |
| Kristof Serrand | .... | supervising animator | |
| Christophe Villez | .... | animator | |
| Maria-Héléna Xavier | .... | animation designer | |
Other crew | |||
| Jean Aurenche | .... | text | |
| Maurice Blondeau | .... | text | |
| Roger Leenhardt | .... | text | |
| Jacques Prévert | .... | text | |
| Chantal Quaglio | .... | script supervisor | |
| Gérard Soirant | .... | technical supervisor | |
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| Le parfum de l'invisible | Night on Earth | Stopping the Show | Fények virradat elött | French Roast |
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| Full cast and crew | Company credits | IMDb Animation section |
| IMDb France section |
Jacques Demy's filming cartoon-maker Grimault, among his creations, is a little clumsy and a little naive but there is no doubt that it is a sincere tribute from one talented film maker to another.
Starting as animation and changing into live action in the studio, we see the now old man sitting at his editing table, joined by his creations. This is the kind of material American TV produced with Disney or Walter Lantz. However the film has a greater resonance when we know the history of the French animation industry and the decades long loss of Grimault's feature film LE ROI ET L'OISEAU to it's creator, none of which are referred to in this film.
Instead we get the Grimault shorts chronologically. It is alarming to see that most are reproduced from worn copies, suggesting that the originals may have been lost. The ending is irresistible, when all the cartoon characters gather on the edge of the table to see Grimault's beautiful LE PETIT SOLDAT - arguably the all time best toon.
The title has acquired a second meaning, not just the early advertising short Grimault made with Jean Aureche but also the editing bench.