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Whatever You Say (2002) More at IMDbPro »Mon idole (original title)


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Down 7% in popularity this week. See why on IMDbPro.
Guillaume Canet (scenario) &
Philippe Lefebvre (scenario) ...
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Release Date:
17 December 2002 (France) See more »
Prêts à tout pour réussir?
Bastien, an ambitious young production assistant, catches the attention of Jean-Louis, a producer of high regard, and is granted a shot at his own television show. Full summary » | Add synopsis »
1 win & 3 nominations See more »
User Reviews:
ready for anything to be successful? See more (13 total) »


  (in credits order)

François Berléand ... Jean-Louis Broustal

Guillaume Canet ... Bastien

Diane Kruger ... Clara Broustal
Philippe Lefebvre ... Philippe Letzger
Daniel Prévost ... M. Balbot

Clotilde Courau ... Fabienne
Jacqueline Jehanneuf ... Maryvonne

Gilles Lellouche ... Daniel Bénard

Jean-Paul Rouve ... Patrick
Andrée Damant ... Micheline

Anne Marivin ... L'assistante
Alexandra Mercouroff ... La secrétaire de Broustal
Pascal Leguennec ... Le jardinier
Vincent Darré ... Le fils du jardinier
Laurent Lafitte ... Fabrice
Pierre Jolivet ... Bertrand Vigneau
Eric Naggar ... Monsieur le maire
Philippe Landoulsi ... Le chauffeur
Ludovic Bismuth ... Le physionomiste
Pierre Poirot ... Le directeur de production
Christophe Rossignon ... L'invité de cérémonie
Jean-Marc Valenti ... Le garçon de café
Ludovic Paris ... Jacques
Philippe Canet ... Antoine Dorsac
Marie-Antoinette Canet ... Jacqueline Balbot
Caroline Attal ... La femme dans le public
Jean-Michel Leray ... Voiturier 1
Arnaud Henriet ... Voiturier 2
rest of cast listed alphabetically:

Arthur Cauras ... Un technicien télé (uncredited)
Bertrand Coupey ... Un spectateur (uncredited)
Olivier Doran ... Un technicien télé (uncredited)

Aurélien Levitan ... Guy in club (uncredited)
Eric Moreau ... Un spectateur (uncredited)

Directed by
Guillaume Canet 
Writing credits
Guillaume Canet (scenario) &
Philippe Lefebvre (scenario)

Guillaume Canet (dialogue) &
Philippe Lefebvre (dialogue) &
Eric Naggar (dialogue)

Produced by
Alain Attal .... producer
Guillaume Canet .... associate producer
John David Cohen .... associate producer
Stéphane Célérier .... associate producer
Philippe Lefebvre .... associate producer
Christophe Rossignon .... associate producer
Laurent Taïeb .... associate producer
Original Music by
Cinematography by
Christophe Offenstein 
Film Editing by
Stratos Gabrielidis 
Casting by
Frédérique Moidon 
Production Design by
Alain Veyssier 
Costume Design by
Fabienne Katany 
Makeup Department
Balthazar .... additional hair stylist
Sabrina Bernard .... additional makeup artist
Christine Cardaropoli .... key hair stylist
Catherine George .... key makeup artist
Esther Laloum .... hair stylist
Stéphane Robert .... makeup artist
Production Management
Julie Belthoise .... location manager
Jean-Philippe Blime .... production manager
Laurent Grenaud .... assistant unit manager
Guillaume Lefrançois .... unit manager runner
Second Unit Director or Assistant Director
Philippe Landoulsi .... first assistant director
Stéphane Manaranche .... trainee assistant director
Nicolas Mouchet .... second unit director
Antoine Ricard .... second assistant director
Mathieu Thouvenot .... second assistant director
Art Department
Denis Barbier .... set dresser
Philippe Baschard .... construction grip
Marie-Josée Bergamasco .... carpenter
Edouard Beux .... first assistant decorator
Pascal Bloquet .... painter (as Pascal Blocquet)
Frédéric Bonzon .... construction grip
Alexandre Cardine .... construction grip
Marc Cataldo .... storyboard artist
Hervé Dépagne .... property master
Patrick Galesne .... painter
Giuseppe Giussani .... carpenter
Jean Paul Glappier .... carpenter
Laure Hug .... set dresser
Jean-Christophe Joubert .... construction grip
Alain Mac Keldey .... property master
Patrick Lecigne .... carpenter
Stéphane Loup .... construction grip
Antoine Martial .... carpenter
Xavier Marty .... carpenter
Fabrice Maux .... painter
Franck Miniconi .... painter
Marc Obin .... assistant decorator
Cyrille Perron .... head painter
Aliocha Pican .... construction grip
David Pineau .... construction grip
Vianney Santrot .... carpenter
Martial Venet .... construction manager
Sound Department
Bernard Chaumeil .... boom operator
Pascal Chauvin .... foley artist
Pierre Gamet .... sound
Jean Goudier .... sound editor
Eric Grattepain .... foley artist
Gérard Lamps .... sound re-recording mixer
Armelle Mahé .... sound
Vincent Montrobert .... assistant sound editor
Johann Nallet .... sound recordist
Patrice Séverac .... post-synchronization
Jean-Jacques Terrones .... sound engineer
Jean-Alexandre Villemer .... sound recordist
Visual Effects by
Lutitia Attar .... visual effects
Ferdinand Boutard .... animator
Céline Chotard .... animator
Fabien Corrente .... digital artist
Hassan El Youbi .... visual effects supervisor
Khaldi Ghali .... visual effects
Alice Guien .... post production manager
Stéphane Morali .... visual effects (as Stef Morali)
Michel Pecqueur .... digital artist
Renaud Philipps .... visual effects supervisor
Bertrand Piocelle .... visual effects
Pascal Valdes .... character designer
Rémi Canaple .... assistant stunt coordinator
Rémi Canaple .... stunts
Gilles Cappelletto .... stunts
Michel Carliez .... stunt coordinator
Patrick Cauderlier .... stunt coordinator
Gilles Conseil .... stunts
Christophe Marsaud .... stunts
Camera and Electrical Department
François Adler .... first assistant camera: second unit
Damien Aubry .... grip trainee
Edwin Broyer .... key grip: second unit
Olivier de Pessemier .... electrician
Patrick de Ranter .... Steadicam operator
Patrick de Ranter .... camera operator
Benoit Dentan .... camera operator
Delphine Desbruères .... camera operator
Alain Dretz .... gaffer
Jean-Michel Dufossez .... electrician
Patrick Gentils .... grip trainee
André Kalmes .... key grip
David Koskas .... still photographer
Margot Lestage .... second assistant camera
André Lorenzon .... electrician trainee
Mathias Othnin-Girard .... electrician trainee
Frédéric Perrin .... grip
Romain Perset .... grip trainee
Stéphane Petitjean .... electrician
Marc Porta .... gaffer
Natacha Raymond .... second assistant camera: second unit
Cyril Renard .... grip trainee
Vincent Richard .... additional electrician
Jean-Pierre Supe .... first assistant camera
Michel Tessier .... gaffer
Costume and Wardrobe Department
Marie Chelle .... wardrobe
Sandrine Douat .... costumer assistant
Editorial Department
Christophe Legendre .... color timer
Charlotte Teillard D'Eyry .... assistant editor
Music Department
Pierre Adenot .... music arranger
Other crew
Francis Auguy .... travelling car
Myriam Bruguière .... press attache
Pierre Cadeac .... animal trainer
Isabelle Gautier .... location manager
Olivier Guigues .... press attache
François Hamel .... production consultant
Pierre Jolivet .... technical advisor
Sylvie Koechlin .... script supervisor
Frédéric Marin .... choreographer
Sebastien Martin .... responsable exploitation
Audrey Mery .... production secretary
Nicolas Mouchet .... assistant to the producer
Lydia Setton .... production administrator
Pierre Vergnes .... groupman
Diane Kruger .... special thanks
Pierre-Benoist Varoclier .... thanks

Production CompaniesDistributors

Additional Details

Also Known As:
"Mon idole" - France (original title)
"My Idol" - USA (festival title)
See more »
110 min | Japan:112 min | Germany:108 min (DVD version)
Aspect Ratio:
2.35 : 1 See more »
Sound Mix:
France:U | Singapore:NC-16 | Switzerland:16 (canton of Geneva) | Switzerland:16 (canton of Vaud)


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7 out of 7 people found the following review useful.
ready for anything to be successful?, 29 December 2004
Author: dbdumonteil

Either it is in France, Great-Britain or in the USA, nearly every big actor felt one day or another to take a turn behind the camera to show their potential as a director. Guillaume Canet, a young charismatic actor added his name to this list which keeps on extending. With "mon idole" (2002), his first long feature movie is strongly rooted in the contemporary reality with the following topics: the hypnotic power of television on the public and the relations of manipulation. However, this exercise of style leaves a bitter taste in the mouth after the vision even if the result is far from being uninteresting.

Do you remember professor Castro's leitmotiv in Alejandro Amenabar's thriller "Tesis" (1996) (We must give the public what he demands...). The professor thought of the violence. Today, the public wants not only violence but also daring TV shows pushed to the voyeurism. The satire is well here at the beginning of the movie during the TV show. Moreover, later the film contains a significant detail: Jean Louis Broustal breeds vultures. The metaphor is obvious. Nowadays, TV shows, especially TV reality occupy an enormous place in our lives and it can be source of wealth and respectability for the ones who run them. Besides, Canet seizes the opportunity to deride them. The sequence when Broustal, his wife and a friend of them are dancing in the living-room dressed in silly costumes constitutes a good example. It wouldn't be fair to call Broustal's wife a grown-up because she is still a child deep inside her. As for Broustal, all in all he is an eternal pampered child who only thinks of having fun. Now to come back to the starting point, Bastien (Guillaume Canet is an ambitious young man who would like to climb the ladder in television. He has a project for the telly and he presents it to his manager Jean Louis Broustal (François Berléand). It is useful to add that Bastien is widely impressed by this apparently serious man. Broustal is interested by Bastien's plan and decides to invite him in his country house in the country for the week-end. But Bastien is going to find out that his real motivations are drastically different from Broustal's.

It is quite easy to guess Canet's major inspirations. His movie finds itself half-way between "Masques" (1987) by Claude Chabrol for the setting, the first part of the story, the food and the cinema of the Coen brothers for the caustic tone. There are also strong echoes of "une étrange affaire" (1981) by Pierre Granier-Deferre. Canet seems to be film-loving to the core. He has also had intuition for the cast. Having hired François Berléand, a largely underrated French actor with a rich filmography was a good idea. Furthermore, him and Canet are well followed by the rest of the cast. The satire is quite fierce, the situations are comical, the actors feel visibly at ease in their respective roles. So, what is wrong with "mon idole"? Well, first Canet's opus appears a little hesitating because it wavers between comedy, drama and detective movie and as a consequence the young director has difficulty to find a unity and a lasting tone. Actually, the first part of the movie is the most successful. Gradually, we feel the suspense rising and Broustal's real intentions are taking shape. Roughly, we discover that Canet offers us a farce. Problem: it happens in the middle of the film and has strong chances to run out of steam quite quickly. So in order to restart the interest of the spectator, Canet tries his hand at black humor (the moment when Broustal's wife is involuntarily killing Broustal's friend) and it is where the movie goes awry. In a way, the young director artificially furnished the second part of the movie and it involves a lack of cohesion to the whole. As a result, Canet wanders from his subject and his movie has difficulty to hold water.

What can we say about his making? It alternates the best and the worst. There's a careful work on light and the scenery but Canet doesn't avoid the flashy effects like to prove his master of making.

But if there's a thing in the film that is spoiled ,it is the music. About it, "mon idole" has a common feature with Cameron Crowe's movie "Vanilla Sky" (2001): both present a badly used and sometimes too intrusive music. Maybe Canet's work is worse because a few songs in it by the feelings they bring out haven't got their place in a story like this one. At the end of the movie we hear "Abraham, Martin and John"! What did Canet think of when he wrote this sequence? That's a real disgrace from Canet.

Let's also regret a somewhat unsuccessful end because Canet couldn't use a thing that could have kicked the bull's eye: immorality.

So, "mon idole" is an interesting but heterogeneous work which could have been much better. It's a shame for Guillaume Canet. But if he wants to shoot a second movie maybe will he correct his mistakes.

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