Jean-Marie Bigard: “I am at the end of my life. I no longer discuss any subject that could get me into trouble. »

16 April 2024 / Jerome Goulon

For several decades, Jean-Marie Bigard built his success on trashy and limitless humor. A humor that he deplores not being able to practice today without the fear of being singled out. It is therefore no coincidence that the title of his new show is “I stop the bullshit”. Also author of the book “The last 50 sentences just before dying”, Jean-Marie Bigard, 69, spoke in a long interview given to Interviews, published in our February issue. An interview to be found now in full here!

Interview: How is the start of the year going for you?
Jean-Marie Bigard: Well, it's going very well. My new show I stop the bullshit walks of the fire of God, then I am in the process of writing a new one which should see the light of day towards the end of the year or beginning of 2025. There is also the release of my book The last 50 sentences just before dying... illustrated by the brilliant Emmanuel Chaunu. Besides that, my daily life: walking, exercise, and not a drop of alcohol, just to age as well as possible.

You never stop...
Well, if I stop, I die. You see, it's like someone who, in the middle of a marathon, stops at 32e kilometer, it doesn't mean anything after that. 

It must be said that you have always been a hard worker…
Yes, and the more it tires me, the more I tell myself that this is what keeps me alive. In any case, I have no interest in stopping. I prefer to die like the thoroughbreds, running. 

What is your show about? 
I attack the show by saying, "If you have the audacity to call your show, 'I Stop the Bullshit,' there are a number of topics that should not be discussed. Here is the list… ". And I show the list of things that should not be discussed, such as yellow vests, touching, the pill, education, etc. Then I take this list, and for certain things, I make a little digression. But I don't discuss any subject that might make me angry or get me in trouble. It allows me to scream, which people love, about simpler things, but which are no less important. 

Like what for example ?
I am talking about some major cataclysms that we have suffered to walk on our heads today, such as the disappearance of slow music which I consider to be a nuclear catastrophe with very serious consequences. We went from “dancing together” to “dancing separately”. We lost the opportunity to have a magical moment with the melee encounter, it was so wonderful. I'm 69 years old now, and I'm still mourning the end of the slow songs. It was just a wonderful opportunity to be able to breathe with someone, to smell the perfume on the neck, to try anything, even a ridiculous conversation, anything. It was a magnificent period that we will never experience again and which further diminishes all the hopes of human beings. 

It is certain that today, “La Boum” by Claude Pinoteau would not be the same film…
That's for sure. Even to consider a film, without it being porn, where we slow dance in an apartment. The screenwriter would no longer even dare to write “Can I put on a slow song for you to dance at home?” Even then, you have the impression that he has alarms that are going to start honking everywhere and that GIGN is going to come through the window...

You were talking about other cataclysms. Which ?
In my show, I also talk about a second great cataclysm, it's the pill. It’s having gone from “having children without really wanting them” to “having or not having children”. It's enormous and it went almost unnoticed. 

Tell us what you think…
Now, most children are wanted and are child kings, for the very reason that they were desired. Now the child decides and organizes, and the parents forget their responsibilities as educators. This simple pill is responsible for the breakdown of the family which itself is responsible for all the violence in the world. So each time these are subjects that seem a little futile, but on which I do not risk getting knocked out and where I can howl like the deer bellowing during the rutting period. 

In your show, another “cataclysm” is close to your heart…
I am in fact evoking a third great cataclysm, which are children's stories and songs. As I told you, I'm 69 years old and I'm still shocked by what I was forced to hum. “A Green Mouse”, for example, is not the story of a mouse that ran in the grass, no! She was fleeing her attackers who were planning to fuck her ass. It's a story of torture and touching. And we adults sing it to a cheerful tune. In short, I run my show like this. I explain to people that one bad thought can kill someone on the other side of the earth. A bad thought is like a knife that is thrown with great force and one day, someone will take that knife and kill someone. I descend into the depths of psychoanalysis to explain that the ideal would even be to not have bad thoughts. I turn everything upside down, I follow the new rules, I insist and I try to dismantle with maximum humor all the places where we step on our heads. Because we are entering into a vice that is tightening around us and which is completely insane. I enjoy it because during this period, we are served the material directly on a platter. What we're experiencing, these new rules, all these things that lead us to be constantly careful, it's godsend for comedians. 

What is your definition of laughter today?
The idea of ​​making people laugh is to dare to use violence. Because it is misfortune that makes us laugh, it is not happiness. Happiness makes you cry, that’s what you need to know. At the cinema, when a moment of happiness arrives in the film, the lovers meet again and kiss each other in tears. There, we don't burst out laughing, we don't laugh when we see that they love each other again. On the other hand, when you see an old lady slipping on a patch of ice, while she has both feet in the air, you collapse laughing. Well, then she falls, she breaks her pelvis in four, you help her. But the fall, for example, which is not a happy thing on paper, is something that makes you laugh a lot. Generally speaking, the only way out of misfortune is this. If we take that away, we're in real trouble. 

Your show was written, among others, by Laurent Ruquier. What is your relationship with him today?
Well, she's pretty good. First of all, I thank Laurent for having found this magnificent title “I stop the bullshit”. Also, we are regularly together on the show Big heads at RTL and we have a lot of fun. 

You were a columnist at TPMP. Why did you leave the show?
No, I didn't leave her. There's a guy who runs the show called Cyril Hanouna. He's a friend, but when he doesn't want to anymore, he doesn't want to anymore. The other day, because I'm still part of the family, I came back exceptionally to promote my book and my show and Cyril told me: "Jean-Marie, you come back whenever you want." It went really well, and I replied: “No, Cyril, I’ll come back whenever YOU want!” Well, maybe they had ARCOM on their ass a little too much. But it turns out that the public loves it when Jean-Marie Bigard is there because precisely, I cross a certain number of limits. That's what people expect of me and that's what I do willingly. 

“I don’t think there’s any point anymore in riding alone on your horse, naked and without armor…”

Do you regret certain positions that may have had a negative impact on your career?
In the past I have hurt myself, I just realized that. I'm at the end of my life, I no longer discuss any subject that could get me into trouble. I think there is no longer any point in riding alone on your horse, naked and without armor, and then spouting a truth that seems logical and necessary to you to make everyone take you down. Now, I just make people laugh by going heavy on things that are references known to everyone, but which are not dangerous. It’s a wonderful exercise in style. I'm on stage, people are screaming with laughter and I'm no longer taking the supreme risk of getting involved in something that will spark a controversy. 

You have been married for more than 10 years to Lola Marois. What do you say about the actress she is? 
Lola is a wonderful actress. She learns her lyrics with a razor at the speed of light. She is always in the eye of the camera and I am amazed by her memory and her sense of the game. My wife is a Stradivarius. She has incredible talent and that's why TF1 always puts her in a good position. When she landed the role of Ariane in Plus belle la vie, I told him: “You know, Ariane, it’s the name of a rocket and it’s this rocket that will take you very high.” I predict he will play big roles in big pieces produced by the channel. 

You have been together for 15 years now. A recipe for love to share with us?
When we met, I was struck by her beauty and her humor. Because with Lola, the glue that we have and that unites us is humor. We burst out laughing. Sometimes we can no longer talk so much that we laugh, just on a whim. We have incredible fits of laughter. You see, that's love. Well, afterwards, I no longer have the wooden penis that I had 10 years ago, it's a little more annoying, but we make do with it. I have to pull the elastic a little harder...

What is your relationship with Claudia, your ex-wife?
Our relationship is very good. She is in Brazil with my first son, Sacha, and we speak regularly. The deal was that Sacha spoke French fluently so that I could keep in touch with him all the time and that was done. We send each other love notes, we talk to each other, I tell him jokes, the atmosphere is great. What's nice is that we have maintained affection for each other. Well, I'm not telling you that I would put Claudia and Lola in the same box, because that would perhaps do the same thing as with two stallions. They both have very strong characters, but everyone gets along very well. I hope that as time passes we will one day find ourselves on vacation together around a swimming pool.

“At the Stade de France, I made 2,3 million euros. But I had invested 5 million euros in it. »

You are the only comedian to have filled the Stade de France. How much does it bring in?
A lot of money, but also a huge risk. I paid for the Stade de France out of my own pocket, it was my production that produced it. I had terrible demands and it worked like hell. The audience had a wonderful time and above all, it was an insane amount of fun for me. To tell you the truth about what it brought in, at the Stade de France, I made 2,3 million euros. But I had invested 5 million euros in it. So I had a deficit of 2,7 million. The thing is that at the time, I had a contract with TF1 that no one will ever have again. It was the beginnings of DVD and my contract gave me 7 euros per DVD sold. So I had to sell 400 to get back to zero. 

And how many did you sell?
In the end, I sold 1,4 million. Do you see the story? And with absolute risk-taking. Afterwards, I came out of 10 years of Zénith and I did three a week which filled up a year in advance, so I didn't leave with empty bags. But the result was completely amazing. 

Was the Stade de France the ultimate consecration of your career?
As I have never received a medal and I will probably never receive one, I said to myself that I was going to make it myself, and this medal is the Stade de France. 

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