#johnnny icons

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Johnny Hallyday, Sylvie Vartan et Françoise Hardy le 3

mars 1967🍁🌼🍁

Via La vie de Johnny, de l'idole à la légende FB🌼

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GQ Germany Interview:

Interviewer: Mister Depp, let's talk about coolness: You often been called "cool". What does that mean to you? Who would you call cool?

Johnny: Cool can mean so many different things. I have always thought that an individual personality is cool. Someone who is just himself. It's actually quite simple - I like those people cool. Patti Smith is cool, she is unadulterated. Iggy Pop is cool, he is unadulterated. Jim Morrison was cool and unadulterated. Marlon Brando was cool and unadulterated. Hunter was cool. You know, only today someone told me about his work as a counselor for children with HIV. Children who have been adopted. It is so brave of him to give something back to others in this way. He impressed me so much that I wanted to be hugged by him. I worked a lot with the Make-A-Wish Foundation and got to know these children. Children with whom fate has not meant well, who have to deal with serious illnesses and pain. In their eyes is not fear, but only bravery and courage. That's really cool. Would I call myself cool? I do not know if that really applies to me, maybe people will see me that way because I'm rather quiet.

I: In the summer you go on a european tour with your band Hollywood Vampires. How important is music in your life?

Johnny: Music is everything, even in my work. The access to my work as an actor is the same as that to my work as a musician. I deal with it, I learn, I listen. By teaching myself how to play the guitar, just by listening to records, I had a pretty good starting position to train my hearing for the shades in the human voice. Be it the timbre, the accent or the attack. As a kid, I've been puzzling various people, and probably this trained hearing helped me a lot. I constantly use it in my work. I think we all have a soundtrack in our heads at all times. For certain scenes I use music. If I want to mentally get back into a situation, or if I have to feel or show something, then it works with a song within seconds. Certain songs immediately evoke memories. My memory is sorted by music. That's why I use music very often.

I: What does "male" mean to you?

Johnny: A real man is a man who keeps his word. The definition of a man is to be true, loyal and present. He must fight against any injustice, be it on the small everyday level or on a large scale, with or without fear. The masculine is to go out into the world as oneself, when there is nothing else. And being sincere and trustworthy.

I: You made a campaign for Dior for the second time - do you think that the image that Dior and photographer Jean-Baptiste Mondino created for "Sauvage" reflects your personality?

Johnny: I think when Jean-Baptiste looks at someone, it's like dissecting his personality. He shifts layer after layer to find the aspect that interests or inspires him, and then he catches some of you in it. This is shown, for example, by the wolf. The wolf is a lonely figure, right? There is definitely a part of me that tends to be a loner. You can never find me in the middle of a crowd.

I: So you're more of a loner?

Johnny: I prefer to stay in the shade and like to hold back. I feel better in the dark. Jean-Baptiste Mondino has captured this side of me. I am a shy person. It's interesting if I play a role, I have no restrictions at all. I can do anything in front of the camera. It's a bit strange to feel better in front of the camera in a role than in your own skin. If I had to get up at a dinner party and say a toast ... I would be a disaster! As a character, a completely different world opens up. Jean-Baptiste has captured something of mine, the part that does not want to talk about all these strange words, or even to perceive them at all. "Celebrity" or "prominence" and all the other nonsense that I can not really connect with.

I: Do you think that Mondino has incorporated some of your roles in the campaign? Did you remember something about the movie characters you played?

Johnny: No, it does not have that. Do you know what has reminded me more than anything else? For an actor it is not the most important thing to act, but to react. That's what it's all about, and you have to do one of the hardest things in the world, being easy. Being in a state of being. It felt very natural, not at all like a roll. I gave him this state of being, and he laid free, layer by layer, until he found what he was interested in. He revealed it, and I accepted it. He allowed me to get involved, and that's the beauty of it. It had nothing planned, cumbersome or intentionally cool or unusual. Just the look that he has for the light, how it hits the mountains. He is a master in it. Honestly, I had more fun with the few days of filming in the desert than with most films, because it felt natural.

I: Is there a person you would like to play once? A character of history or the present, or someone who inspires you in particular?

Johnnny: Oh yes, there are people who fascinate me and books that I'm obsessed with. It is possible to really love a fictional character. For example, the "catcher in the rye". No one should actually watch a movie version of Holden Caulfield. Holden Caulfield must look like the imagination of the reader, as described by J. D. Salinger. Then you have these great personalities, Picasso for example: you can never do it justice, and that's why you should rather stay away from it. Or take "On the Road" by Jack Kerouac. That was my Bible as a child and still is in many ways. It has given me so much and helped me grow up. I never thought that this book should be filmed. I did not see the movie a few years ago, but I know the director, Walter Salles. He's a nice guy, but the character Sal Paradise from "On the Road" is Jack Kerouac himself, right? It is difficult to think of someone else or to imagine someone else. It's just too good to falsify.

I: Are there any Hollywood icons that inspired you during your career that made you do what you want?

Johnny: Ultimately, I have always been inspired by individual personalities, whether on television or in films. Real individuals, very different types of comedians, entertainers, actors or singers. These unique individuals really inspired me, for example Charlie Callas or Don Rickles, Foster Brooks, who was able to imitate a drunk, Dean Martin, Marlon Brando, Yul Brynner. These were all clearly defined and completely unique individuals, and for me that is the most important thing. They never tried to imitate anyone. They just went their own way and it was unique. The present generation and the generation that comes after me think that they do not have to experience this individuality, these people who are absolutely unique. In the meantime, everyone just wants to become famous to be famous. But why would you want to be famous? I do not know, and I do not care. It never really mattered to me.

I: Your most famous character is undoubtedly Captain Jack Sparrow. How much fun is it to play this character? How connected do you feel with him?

Johnny: To play a man like Jack Sparrow - who can just say anything, even if it does not make any sense at all, and then somehow has to try to make sense of the whole thing, which in turn makes it more tangled and abstract, and he can get away with it … It is strange. When I play Captain Jack, I have to grin almost all the time. Being him makes me laugh. He can do anything, he can say everything. "Hello, sweetheart!" He can be incredibly naughty. His character is the opposite of mine. I can also be naughty, but I've never been so extroverted. I have always been very shy. To become Captain Jack Sparrow, to find him in me, to allow myself to drop that curtain, and to be simply absurd and disrespectful and to try out nonsense in a roll, is an endless experiment.

I: How much of that is written in the script? And how much of yourself is in the role?

Johnny: I have been in this business for a long time, and I have always rewritten individual sentences. Sometimes you have a script and it sounds fantastic, but in reality it just does not work because people do not speak the way it stands there. In general, people do not talk as much in reality as in movies. That's why I've always rewritten individual parts. But I write everything with Captain Jack. I stopped reading scene instructions many years ago. Sure, when I read a script for the first time, I read the dialogues and instructions to understand what the movie as a whole is. But after that I never read the instructions again. I do not want to know what to do or where to stand, it should just happen. So you have more freedom. Of course, the director can point out the script if he wants. But I would prefer to know nothing about it. Sometimes a scene is self-explanatory.

I: What criteria do you use to select your films?

Johnny: It depends. For a script, I can usually say it after the first ten pages, or even after the first three or four pages. Normally I give ten pages to a script. After that, I know if I'm the right person for the movie. I agree if I feel like I can contribute something to the film, to the vision. Something that has not been done a thousand times before regarding the performance or the interpretation of a role. That's all. If something touches me or makes me curious, then I can think of pictures of the character I am reading about. First thoughts come to me, and nine times out of ten, the first thoughts are the best. Kerouac also said that the first thought is the best. Hemingway too. When asked how to become a good writer, which is the biggest challenge, he said, "All you have to do is write a true sentence." It sounds so easy, but it's incredibly difficult. (X)

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