His novels have often been adapted to movies and television. While France 2 is preparing to release a new version, series, "Little Rivers", the author and scriptwriter goes on the movies and series that inspires.
The author Jean-Christophe Grangé, specialist of the best-selling thriller, develops his cardboard series, The little rivers (1998), from Monday 26 November in France 2. Four new investigations, Commissioner Pierre Niéman's dissimilarity – the plot of the first two episodes is near grotesque, the next two are better bills. Since the film by Mathieu Kassovitz (2000), five of Grange's novels have been adapted to movies and television, and this has also tried the original scripts, especially with switch, Frédéric Schoendoerffers thriller released in 2011.
"Even more than police literature, which I have long considered illegal, I was first inspired by the cinema, He remembers, in September, when we met him at the La Rochelle Fiction TV Festival. I then went the other way when my novels became a movie. And that was a big disappointment. I only had cafes. I had to deal with the constraints, compromises, a very difficult collaborative project: When there is no money, it's been when it's not been, it's the actor … Finally, we never have what we want. "
"As Kubrick said, Being a filmmaker is writing War and peace in a bumper car " continues Jean-Christophe Grangé. Still, he does not feel like getting used to a movie or television experience – "I continue writing fiction, out of pure optimism. Every time I tell myself this time, it will be great." He is particularly pleased with this new version of Little rivers, as he wrote eight episodes, but again in the hands of directors Ivan Fegyveres, Julius Berg and Olivier Barma. This former journalist and reporter return with us the track of eight films and series that inspired him.
Once in the West (1968), from Sergio Leone
"I could have taken some of his movies. Today he went into the pantheon of big directors, but we forget that everyone basically hated him. When he arrived, the American Western reference was and we looked like heroics Baroque movies, full of humor, with picnic characters. It is easily linked to spaghetti western, but it was far above the mass. Each of her leaders is impressive with beauty, her amazing light, her intense stories, and a huge dialogue in the economy. Not to mention Enio Morricone's music, it great music from the twentieth century. What inspires me most about him is the loneliness of his heroes. These are stories of men in the breach. My investigators are like that. They are Clint Eastwood, alone, to the horseback. "
The Exorcist (1973), by William Friedkin
"A masterpiece. I have rarely seen such an intense film." We have talked a lot about the horror page, very successful, but the most frightening thing is the little girl's moral monstrosity. "Friedkin tells us about the possession of a child flying in the air, but treats it with thorough realism. It was a big lesson for me. The opening scene in Iraq should be studied in all film schools. I'm also a big fan of Convoy of fear (sorcerer, 1977), its adaptation of Salary of fear. A road movie top of the guys at the end of the roll, without all these digital effects of Marvel … "
Marathon Man (1976), from John Schlesinger
"This is my total reference, definitive in terms of crime. His plot is original, spoken in a fragmented way, like a mosaic, and the story of the cinema will always remember his piece of bravery, the dentist's scene. When we see him again, We're surprised: for half an hour we do not understand what's happening, and then the nightmare takes shape – it's also a holy reading! I followed Schlesing's career a lot, but he never made a big movie again. His meeting with William Goldman, a great scriptwriter, has undoubtedly provoked what cinema people like to call an "alignment of planets"! "
The Dragon Year (1985), from Michael Cimino
"It all starts from a theme of great originality, then the Chinese mafia. It's almost a war story, a lonely man, almost unfriendly, but endearing against a clan. I realized that I was looking at a masterpiece when the villain goes to get his substance in Burma, is in a tribe and goes out of the thriller to enter universal fresco. "
Dead in the skin (2004), from Paul Greengrass
"For now, Greengrass is the absolute reference to the director of action films for me. I also love Green zone (2010). In both cases, he has a strong contrast between Matt Damon's face, a common man, a fake hero, projected in crazy intrigues and action scenes completely mad, filmed almost like in a documentary. The scene with Jason Bourne on a Russian highway is hallucinating. "
Survey, by Tom Tykwer (2009)
"It's one of those films that surprised me the most recent years. We start with a story about economy, extremely complex, with its center Clive Owen as a single man fighting the system. And, as with Marathon Man and The Dragon Year, The film explodes with an incredibly amazing bravery: a shooting in the spiral staircase of the Guggenheim Museum in New York. An anthology action scene – it must have cost half of the budget! This is the strength of the major American films, which often lack French productions: the ability to tell a good story and to let go of the power of this level. "
Nip / Tuck (2003-2010), from Ryan Murphy
"I'm a big fan of this series. It's equivalent of War and peace, but in Florida, a delusion of human and social fresco, which says a lot about the United States, the absolute vanity in this way of consumption – there are no more films that can hardly reveal society. Especially season 2 was very strong. This is tragic, Dostoevsky! "
boss, by Farhad Safinia (2011-2012)
"This political series has unfortunately gone over to the ace. Another story about a lonely man who is fighting, who is half rotten, but still trying to do things. A sick man who drives for something but sees his own decay, catches him. .. "