Table of Contents
There is something mysterious and mythical in the career of Aurore Clément. His CV is crazy. She has appeared in over 90 films and plays, including Lacombe Lucien (by Louis Malle, 1974), The Crab–Drum (de Pierre Schoendoerffer, 1977), Anna’s appointments (by Chantal Akerman, 1978), Apocalypse Now (by Francis Ford Coppola, 1979), or even Paris-Texas (by Wim Wenders, 1984). She has played with the greatest and her career is dizzying, and yet nothing predestined her to have such a career in cinema.
A lonely childhood
Aurore Clément grew up in a small village near Verdun. She was raised by an aunt who was a seamstress, who had no money, and a mother who was crippled and worked in the fields. These two women both taught him things: “I learned about beauty with this aunt. And with my mother, I learned about work, going into the fields, working potatoes, etc. And above all loneliness.” Her father was a small farmer without money, and Aurore Clément also went to work in the fields when she left school. They lived on what they grew and had no heating or shower. As a child, she mostly felt isolated, and was very bored, which, as she says, developed her imagination.
At 17, his father died in his arms. She then makes decisions for her mother and her sister, and goes to work in the factory. Three years later, her little sister died of an ectopic pregnancy, then her mother died five years later. All her life, she carried this inner sadness and at the same time this duty to do and this duty to live.
From modeling to cinema
One day, she sees an ad in Paris Match to become a model. A few months later, she appeared on magazine covers. At this time, she still had three books with her, one on Ingrid Bergman, one on Marilyn Monroe and one on Greta Garbo.
Louis Malle spotted it in the magazine Elleand taught him what cinema was. At the premiere of the film Lacombe LucienAurore Clément’s mother, who is crippled and almost deaf, comes to the cinema. In the front row, after the session, she fainted with emotion. She then said to Aurore Clément: “To have seen you is one thing, but to have heard you…”
There will then be Apocalypse Now by Coppola. Aurore Clément will then experience two years of madness with Marlon Brando and Martin Sheen. It was during this period that she met her husband, Dean Tavoularis, artistic director.
The filmmaker Chantal Ackerman was very important to her, because she is her soul sister. She made him play the leading role in the film Anna’s appointments. The guest talks about what she means to her: “I spent my life with Chantal and her family, her mother. Chantal Ackerman only said one word to me when we were working: ‘No psychology, Aurore, no psychology.’ Chantal Ackerman, it’s 25 years of work or 30 years, I don’t know anymore. It’s difficult to talk about Chantal. She wasn’t an intellectual like we think.
A new world Listen later
Reading listen 2 min
The series, “That’s Paris”
Aurore Clément stars in the new series from the creators of Ten percentwhich arrives on France TV, This is Pariswhich will be broadcast on Wednesday evening (November 27), alongside Alex Lutz, Monica Bellucci, Nicolas Maury and Charlotte de Turckheim. Alex Lutz is the manager of “Tout Paris”, an emblematic Parisian cabaret that he inherited from his father, but which he crashed because he did not know how to manage it. The cabaret is on the verge of bankruptcy and he is ready to sell it. He still created a new magazine which would perhaps allow the cabaret to survive and regain success. Aurore Clément plays an eccentric and capricious former magazine leader, a little naughty, who lived for more than 30 years in Las Vegas and who returns to Paris. She has, in the series, this sentence: “I left Paris, it was the city of love, I’m coming back, it’s the city of bicycles.”
Aurore Clément agreed to play this role because the meeting with Marc Fitoussi, the director, was sublime. And she liked the character, as she tells Léa Salamé on the microphone: “I can very well imagine this woman who left at a very young age to try to become a dancer in Las Vegas. She tried everything, and then in the end I think this woman didn’t succeed at all and she was playing slot machines. sub. And when they brought her back to be this cabaret lead, ultimately they didn’t really want her, I think, and then they rejected her in a very cruel way.” There’s a little bit of her in the role, as she says.
-> To find out, listen to this show…
Series time Listen later
Reading listen 4 min
**How did Aurore Clément’s experience growing up in a small village near Verdun, marked by poverty and loss, influence the roles she chose throughout her acting career?**
## Interview: Aurore Clément – A Life on Screen
**Interviewer:** Welcome to World Today News. We’re delighted to have with us the acclaimed actress Aurore Clément, whose career spans decades and includes collaborations with some of cinema’s greatest names. Joining us today is Aurore Clément herself, and esteemed film critic, [Guest Critic Name], who will offer valuable insights into Aurore’s work.
**Section 1: A Foundation Forged in Hardship**
**Interviewer:** Aurore, your early life was marked by hardship and loss. How did growing up in a small village near Verdun, facing poverty and the loss of your loved ones, shape the person you became and the path you chose?
**Guest Critic:** Aurore, your early life experiences are truly striking, and directly contrast with the glamorous world of cinema. How do you see this early hardship being reflected in your acting choices and the roles you gravitate towards?
**Section 2: From Modeling to the Silver Screen**
**Interviewer:** Your entrance into the world of cinema was somewhat serendipitous, starting with modeling. What sparked your interest in acting, and what were those early experiences like, working with renowned filmmakers like Louis Malle?
**Guest Critic:** Aurore, your early roles often showcased a captivating blend of elegance and vulnerability. What joys and challenges did you encounter navigating the complexities of the film industry, especially during your early years?
**Section 3: Collaborations and Inspirations**
**Interviewer:** Your filmography is overflowing with collaborations with cinematic giants: Coppola, Malle, Wenders.
Could you share some memorable anecdotes from these collaborations and perhaps reveal something unique about working with each of these directors?
**Guest Critic:** Aurore, you have spoken fondly about your close bond with filmmaker Chantal Akerman.
How did her unique vision and approach to filmmaking influence your own artistic journey and choices?
**Section 4: “That’s Paris” - A New Chapter**
**Interviewer:** Now, let’s discuss your latest project, the series “That’s Paris,” which looks intriguing. Can you tell us about your role and what drew you to this project?
**Guest Critic:** Aurore, your career demonstrates an incredible versatility, seamlessly transitioning between film and television.
What are your thoughts on the evolving landscape of storytelling and the opportunities presented by different mediums?
**Section 5: A Life in Reflection**
**Interviewer:** Looking back at your remarkable career, what are some of the most fulfilling experiences you’ve had as an actress, and what lessons have you learned along the way?
**Guest Critic:** Aurore, your story is truly inspiring – one of extraordinary talent overcoming challenging beginnings. What advice would you give to aspiring actors navigating the often-difficult world of the performing arts?
**Interviewer:** Aurore Clément, thank you for sharing your story and insights with us today.
This has been a fascinating exploration of your life and career. To our viewers, we hope you’ll tune in to “That’s Paris” and experience
Aurore’s captivating performance firsthand.
