Les Princesses

Nemo Schiffman et Ines Asiaf

 Nemo Schiffman et Shannah Segond ;

An interview by Benjamin Bergery

Mommy – Interview with Xavier Dolan

February 6, 2015 in thefilmbook

 
My interview with André Turpin about his striking cinematography for Mommy is in the February issue of American Cinematographer.
This post presents an interview with the film’s brilliant young director, Xavier Dolan, which I conducted after the print deadline.

Cinematographer André Turpin with director Xavier Dolan on the set of Mommy (photo Shayne Laverdière)

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Xavier Dolan

Xavier Dolan is a French-Canadian wunderkind who directed his first film at the age of 19. Now 25, Dolan presented his fifth film, Mommy, in Cannes’ Main Competition last year, and shared the Cannes Jury prize with Jean-Luc Godard. Mommy’s striking cinematography also earned André Turpin a Bronze Frog at the Camerimage festival last November.

Writer/director Xavier Dolan in Cannes

Mommy follows the attempts of, Die, a flamboyant French-Canadian single mother, to cope with her hyperactive adolescent son, Steve, who is expelled from school for violent behavior. Die reaches out to Kyla, an introverted school-teacher neighbor, to home school Steve. This unlikely trio bond and create a family of sorts, an environment that offers the promise of healing each person’s pain and isolation. However a lawsuit in the wake of Stevie’s violence threatens to undo this fragile harmony, and wreak havoc on Mommy, her son and her new friend.
The film’s simple story is presented in a series of emotional scenes, filmed with originality and brio in a unique 1:1 square aspect ratio. When I saw Mommy, I had that rare and wonderful feeling of discovering an important new filmmaker.
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Mommy the trailer

watch on YouTube
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inspiration

Benjamin B: I wanted to start by saying how lucky you are to work with André Turpin
Xavier Dolan: I know how lucky I am, I’m so lucky I found him, I’m so grateful !
BB: I think he feels the same way about you. I was wondering how you start out on the process of making a film, because you’re writing as well as directing. Does the story first come in images, does it come with a song?

XD: Honestly music is often the inspiration, and comes before the script or the story. After hearing songs I will see images and visualize scenes or moments in a story. And that’s often how I start to write. I don’t have a routine, I don’t get up in the morning thinking “Oh, I have to write today”. I write when I have an idea, and music gives me ideas.
Once I’ve written the script, I prepare by researching imagery in photography or painting books, or even magazines. Powerful imagery is everywhere and that’s mostly how I prepare for a film. I make a “Look Book“.
I gather all these images that really inspire me and I go to this photocopy center where they know me; I sometimes feel I’m their worst nightmare. I walk in with suitcases full of books that I’ve marked with notes and post-its. I’ve marked all these pages, not completely knowing what they would be useful for, just knowing that they are inspirational for now. I bring all that out and they scan them in hi-res and send me PDFs before printing them.

Pages from Dolan’s Look Book for Mommy, with visual references for the 3 main characters (kombini.com)

Then I divide the images into categories, whether it’s for characters, locations, or costumes. I get pleasure in doing the editing of this little book and making it myself. I love making these books. I make copies for everyone on the film, maybe twenty copies in all. I give them to André, the production designer, the lead actors… So everyone gets an idea of what I’m seeing for the movie.

35mm negative

BB: Why do you shoot with 35mm negative?
XD: I would never shoot in digital. Never, it’s not an option. I shot my first film on digital and I can’t even look at it. I mean there are beautiful films out there shot on digital. I just had a bad experience, and I’m not interested in what digital can look like, because it doesn’t look like film. I just feel like there’s no emotion in digital. It’s flat, it’s robotic and cold. It works for many things I guess, but I’m not interested in exploring that at all.
We may have film forever, but it will become more and more complicated until it becomes too expensive, exorbitant and rare to shoot on film. If that happens I will feel deprived of the energy, the life, the surprises, all of the organic mystical aspects of film. It will be so cruelly missed. And unfortunately I’m sure this will happen… although I hope it won’t.
If one day it becomes impossible for me to shoot on film, I would continue to tell stories — because I need to tell stories and that’s my passion and my life and I wouldn’t stop because of that — but a part of me as an artist would sort of die. I would tell stories with a little less conviction.
BB: The magic of film is mysterious. Do you think it involves the grain, the photochemical process?
XD: Grain and the unexpected. You know, you’ve been shooting film forever, all your life, lighting it and yet when you’re watching the dailies, you’re like: “how did it ever come out that way, so green or so orange, or like that?” There’s always this unpredictable side to shooting film. It’s the surprise, it’s life itself and that’s great.
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focusing on the characters

BB: André said that you would go over to his house to prepare the découpage (shot breakdown) in the evenings
XD: Yeah, we would sit at his kitchen counter and go through the scene and the schedule, and try to figure out how we wanted to tell the story. Mommy is really a movie about the characters. We did not want to put ourselves up front, we wanted to focus on the characters. So every choice of lens, every choice of movement or no movement, everything was discussed and pondered: “Is this right? Is this wrong?”
André is one of my favorite persons in the world. What I really appreciate about him is that he understood how important it was to stay focused on the characters… You know, kids will start playing sometimes, and on a set you can become like a kid playing in your little sand box, and get lost in formal explorations. But we knew that this would be unseemly and wrong for this film. Mommy is a movie that’s sort of socially engaged, and there was no place for those kind of aesthetics.
And what’s great with André is that whenever I’m off, I mean when I’m not on, when I’m not right, when I have an idea and I’m digressing, he’ll bring me right back: “Are you out of your mind? Maybe for a student movie in 1998, but now that we’ve all seen Memento, this is a bad idea”. And whenever he would be off, I would be on and I would be like: “No, I don’t think so”. We really completed each other.
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1:1 portraits

BB: André was the one who suggested Mommy‘s unique 1:1 format. It’s true that 1:1 is a portrait format that helps you focus on the character, on the face.

XD: Yes, because you have no distractions left or right. I’ve shot many movies in 1.85:1, and I was tired of it. For me 1:1 was so simple, the idea was to really focus on people… And the audience forgets about the format, at least that’s what most people tell me.
Some people have seen this choice as a device, as something pretentious… I think it would have been more pretentious to shoot this film in 2.35… This movie is in suburbanite Montreal, it’s a working class ethic, it’s so not meant to be shot in 2.35. 2.35 is too Batmanesque.
BB: Can you talk about setting up shots for the 1:1 format?
XD: Portraits always work well in 1:1 — close-ups of the characters, like the old 6×6 in photography, which was used in for portraits in the early 20th century. I love very wide shots or close-ups in 1:1, but I have a problem with the medium shot. Like full body shots, or semi-wide shots looked banal, they trivialized the 1:1. So we sort of dropped the idea of medium shots, and we just went for close-ups or extremely wide shots.
BB: The 1:1 really works for doorways and windows, there are a lot of windows in the movie.
XD: Yeah it does work well for that, because there’s a rectangle in a square, and that’s always sort of pretty. You’re framing a frame, it’s interesting.
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acting with the actors

BB: Can you talk about working with actors on the set, I understand you’re quite dynamic?
XD: Yeah, I have a constant interaction with the actors.
BB: One thing you have in common with both Federico Fellini and Terrence Malick is that, like them, you will talk to the actor during the take.
XD: Really? [laughter]… Since I’m an actor myself, the way I direct actors is that I act with them. So, as the scene goes on I’ll just see what I would personally do as an actor, what I would add or the lines that I would change.
Actually, it’s all the different roles intervening at once: the actor, the screenwriter, the editor and the director. So I’ll notice something that I feel is missing in the dialogue, that would be so nice right now, so I’ll tell the actor: “Say this”. And then I’ll see what the actor in me would do. So I’ll say: “Wait, before saying it, open your mouth as if you were going to say it, now close your mouth. You’re not ready to say it, just wait one second and then go.” And then as an editor I’ll be like: “Oh, there’s a beat here, we need to do something about this”, so I’ll ask for one more little action or whatever. And then as a director, I’ll…
So I do all of the roles at once. I never shut up.[laughter]
BB: It must help to work with actors like Anne Dorval and Suzanne Clément who know you well.
XD: Oh yeah, they don’t even hear me any more, well they hear me, but they pretend they don’t. We don’t stop and go. I’ll tell Anne something and then she’ll add another thing, and it inspires me a new thing, so then I tell her this new thing… But in the film, you’ll just see it as a monologue. Obviously we cut out my voice. The actors incorporate the notes in the action without ever breaking out of character, it takes a huge concentration on their end. They’re very good at that.
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Suzanne Clément, Xavier Dolan and Anne Dorval work on a scene (photo Shayne Laverdière)

doubt

BB: In Cannes when you accepted the Jury Prize you dedicated it to young people… What advice would you give to young filmmakers trying to become a director?
XD: That’s a hard question. It’s tricky because I’ve had a singular journey. I was very lonely when I first wrote I Killed my Mother. No one wanted to produce it. But I had money from child acting gigs, and had I not had the money, I don’t know if we’d be talking. And most of my friends are very reassuring, they’ll say: “Oh no, you have such guts, you would have done it anyway”. I’m not sure. How? With what money? How? With what camera? Would I have done it à la Festen, like Dogma? It’s tricky. I can’t think about that too much, because then I start bad-tripping…
I’m very young and I feel like I’m not entitled to give advice. But one thing I’ve learned is that it is very important in this business to never doubt yourself, although it’s just as crucial to doubt your ideas. But in the eyes of others, doubting yourself will make you look weak, and won’t give you the quality of the leader that you have to be on the set.
If you are too sure of yourself, too full of yourself so that you never doubt the quality of your own ideas, and what you do, then that is a sign for me of weakness: your ego gets in the way of your storytelling. Believe in yourself, believe in your story, but don’t forbid yourself to doubt, because that is a pure lack of intelligence.
You have to be attentive to people, and you have to listen to the ideas of other people, because of course they’re very interesting and you have to work with people who will confront your ideas, who will inspire you. But if you doubt yourself, you are not that person that people can follow. You are not that person that can transmit a vision to people, a vision to which people will add their ideas.
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André Turpin and Xavier Dolan waiting on the set of Mommy (photo Shayne Laverdière)

links

wikipedia: Mommy
wikipedia: Xavier Dolan
wikipedia: André Turpin
konbini.com : Xavier Dolan’s Look Book (in French)

Set photography by Shayne Laverdière – courtesy of Roadside Attractions
My thanks to Xavier Dolan and André Turpin
Thanks also to Scott Feinstein, Rebecca Cook and Kate Rosenbaum at 42 West.

         

La vie en Nouvelle Calédonie

Laurent et Pablo Guiader , Sophie Kilcoyne : un temps à l'île des pins , fev 2015 , une photo de Julie Harris

You are gonna have to serve

Nicholas Bergery

Gotta Serve Somebody

You may be an ambassador to England or France
You may like to gamble, you might like to dance
You may be the heavyweight champion of the world
You may be a socialite with a long string of pearls
But you’re gonna have to serve somebody, yes indeed
You’re gonna have to serve somebody
Well, it may be the devil or it may be the Lord
But you’re gonna have to serve somebody
You might be a rock ’n’ roll addict prancing on the stage
You might have drugs at your command, women in a cage
You may be a businessman or some high-degree thief
They may call you Doctor or they may call you Chief
But you’re gonna have to serve somebody, yes indeed
You’re gonna have to serve somebody
Well, it may be the devil or it may be the Lord
But you’re gonna have to serve somebody
You may be a state trooper, you might be a young Turk
You may be the head of some big TV network
You may be rich or poor, you may be blind or lame
You may be living in another country under another name
But you’re gonna have to serve somebody, yes indeed
You’re gonna have to serve somebody
Well, it may be the devil or it may be the Lord
But you’re gonna have to serve somebody
You may be a construction worker working on a home
You may be living in a mansion or you might live in a dome
You might own guns and you might even own tanks
You might be somebody’s landlord, you might even own banks
But you’re gonna have to serve somebody, yes indeed
You’re gonna have to serve somebody
Well, it may be the devil or it may be the Lord
But you’re gonna have to serve somebody
You may be a preacher with your spiritual pride
You may be a city councilman taking bribes on the side
You may be workin’ in a barbershop, you may know how to cut hair
You may be somebody’s mistress, may be somebody’s heir
But you’re gonna have to serve somebody, yes indeed
You’re gonna have to serve somebody
Well, it may be the devil or it may be the Lord
But you’re gonna have to serve somebody
Might like to wear cotton, might like to wear silk
Might like to drink whiskey, might like to drink milk
You might like to eat caviar, you might like to eat bread
You may be sleeping on the floor, sleeping in a king-sized bed
But you’re gonna have to serve somebody, yes indeed
You’re gonna have to serve somebody
Well, it may be the devil or it may be the Lord
But you’re gonna have to serve somebody
You may call me Terry, you may call me Timmy
You may call me Bobby, you may call me Zimmy
You may call me R.J., you may call me Ray
You may call me anything but no matter what you say
You’re gonna have to serve somebody, yes indeed
You’re gonna have to serve somebody
Well, it may be the devil or it may be the Lord
But you’re gonna have to serve somebody

Bob Dylan
Copyright © 1979 by Special Rider Music

posté par "mon Nicky"  Nicholas B. ) 

Bob Dylan Gotta Serve Somebody - YouTube

www.youtube.com/watch?v=gC3cvaZV6mI

Attention : Un nouveau panneau signale les mal entendants

Teddy's circus

 

 Teddy between  Benji and  Annie  near Nicky 

La vie matérielle n'était pas très facile bien que nous ayons eu le bonheur de vivre dans un bel appartement de Greenwitch village , aussi un temps elle créa un petit cirque où elle se  produisait avec ses magnifiques enfants .  Elle voyagea aussi avec eux , les installa une année à Rome , plusieurs mois en Grèce. Benjamin vit à Paris aujourd'hui. Nicholas à Key west : c'est un artiste aussi , photographe et peintre . Annie vit toujours à New York . La dernière fois que je l'ai vue au Noël 2012 elle m'a fait cadeau,   près de 50 ans après,  d'un  compliment  touchant : elle me dit qu'elle se sentait protégée du seul fait que je dormais aussi  dans la ville.

Leur Maman : Teddy

Une comédienne de talent

 

Un peu plus tard elle se mit à peindre 
Ici : Annie qui se repose
















                                                                 J'eus le bonheur de la revoir à Miami avant son grand départ.

Premiers Amours

Ets-ce qu'ils ne sont pas Magnifiques mes tout premiers amours ?
J'étais leur baby sitter à New york en 63 pendant une année scolaire
j'avais 20 ans
Ils avaient 11, 9, 6 ans  environ . S'appellent Benjamin , Nicholas et Annie
je les aimais comme s'ils avaient été mes propres enfants
Leur maman était comédienne
Leur père vivait à Paris
je les levais, les nourrissais, les conduisais à l'école , faisais leurs chambres , les récupérais , leur faisais des crêpes pour 4 heures . Entre temps j'écrivais à Michel tous les jours .
Nous écoutions les Beattles ensemble , je me faisais du souci pour eux  mais par dessus tout je les aimais à mort mes trésors.
La preuve en est que je les aime encore .

Coucher de soleil à Bally le 5/2

une photo de Catherine P.

A l'Alhambra

« Ravie » à l’Alhambra dimanche 8 février à 17h !

31 janvier 2015

Emmanuelle la réalisatrice

La sortie du  nouveau film d'Emmanuelle Bercot est prévu pour le 30 septembre 2015.
Son titre: La Tête Haute
C'est l'histoire d'un jeune délinquant, Malony ( Rod Paradot) ,  qu'un éducateur ( Benoît Magimel) et une juge pour enfant ( Catherine Deneuve ) tentent de sauver . Sarah Forestier joue le rôle de sa maman .

La Tête haute : Photo Benoît Magimel, Rod Paradot

 

Emmanuelle, l'actrice

"Mon Roi", le prochain film de Maïwenn  d'abord connu sous le titre " Rien ne sert de courir "devrait sortir  en salle le 21 octobre prochain avec Vincent Cassel, Emmanuelle Bercot, Louis Garrel, Isild Le Besco...
Le synopsis publié par le site Première :
Tony vient d'être admise dans un centre de rééducation dans le sud-ouest à la suite d'un traumatisme important du genou. Elle devra prendre le temps de réapprendre à marcher, le temps de retrouver son équilibre. A la souffrance physique qui la cloue sur place, s'ajoutent les souvenirs de sa vie passée qui lui reviennent, comme autant de bleus à l'âme. Cette vie, qui depuis de trop longues années ne consiste qu'à tenter de se défaire de l'emprise d'un homme, Georgio, escroc magnétique mais vrai sale type, qui la détruit à petit feu et dont elle a eu un fils, Enzo. En luttant pour réparer son corps, Tony apprendra à ne plus avoir peur, à se défendre, à se redresser...

Et aujourd'hui

 

 Photos de Martine F.

L'Ann Moor by sunset le 4 Février

 Photos de Catherine P.

La peur

"Fear is the main source of superstition, and one of the main sources of cruelty.

To conquer fear is the beginning of wisdom."

La peur est la principale source de la superstition  et une des plus grande sources de la cruauté . Conquérir la peur est le début de la sagesse

Bertrand Russell (1872 - 1970)

Energie du Verseau

Constellation du Verseau 2015

 Voici  le texte de réflexion sur l'Energie de la Constellation du  Verseau

Pleine Lune mardi 03 février à 00 h 10                                             

Note-clé : Je suis l'eau vive versée pour ceux qui ont soif 

Energie du signe : sagesse créativité

 Dernier signe d’air du zodiaque, il recèle en lui une qualité d'altruisme. Une énergie universelle qui favorise la transmission et la diffusion de la Connaissance. Ce signe est en effet gouverné par Uranus, qui amène une dimension non plus terrestre, mais réellement cosmique.

 Le Verseau agit comme une individualité qui vise à l’union. Il œuvre à ce que, dans tous les domaines, les frontière arbitraires soient levées, à l’image par exemple, du fonctionnement de l’Internet. La mission spirituelle du Verseau est de répandre la Connaissance d'une manière large et non dogmatique. Car ce signe ignore tout des états d'âme et des préjugés raciaux, sociaux, culturels, ou religieux, etc., en se tenant à l'écart des institutions structurées et fermées. .

 Dans cette période, les consciences des personnes du Verseau sont concentrées au-delà des
frontières artificielles égoïstes. L'aspirant/chercheur a toujours dû affronter de telles circonstances
libératrices, mais désormais, c'est l'humanité entière qui est concernée. Des changements rapides affectent la vie planétaire dans tous les règnes, car l’influence de cette constellation s'accroît en portée et en puissance à chaque nouvelle décennie.

 Dans cet âge du Verseau où nous entrons, le changement est constant. A longue échéance, rien ne
pourra résister aux puissantes énergies qui se répandent par cette constellation. Les humains doivent donc accepter ce changement et aller de l'avant pour le mieux. Ceci n’est pas très facile à vivre pour plusieurs raisons :

- Tout va vite dans chaque département de la vie et cette hyperactivité quasi continue entraîne une dépense excessive d’énergie, c’est ce pourquoi nous sommes souvent si tendus. Mais ce que nous observons est une période de transition.

- Ensuite, parce que nous sommes venus en incarnation dans des corps/matière encore solidement dépendants de l’ère des Poissons : vieil appareil de réponse, instrument avec des habitudes de vivre et de penser qu’il faudra abandonner ou transformer.

- Nous essayons de vibrer au rythme de l’ère du Verseau, mais nous ne sommes pas encore des êtres du Verseau. Nous nous en tenons toujours à certaines formes passées. Or nous nous évoluons maintenant vers des formes plus subtiles.

 Cet esprit de non-séparativité, d’amour, de compréhension, de libération de l’autorité fait aussi ressortir de chaque être humain ce qu’il y a de meilleur en lui. Et cela interpelle directement notre amour-propre d’abord et la justesse de l’estime de nous-mêmes, face à l’amour humblement altruiste et fraternel du Verseau.

 L'une des choses sur laquelle nous pouvons travailler dans ce signe, c'est le sens que nous avons du "groupe". Serons-nous capables de pénétrer avec intelligence, sympathie et compassion dans la conscience des membres les plus proches de notre famille de sang, de cœur, nationale, raciale, humaine; comprendre pourquoi ils pensent comme ils le font et pourquoi ils agissent de telle manière, dans telles circonstances ?

Cet amour universel peut-il donc régner sur la terre ? Peut-être est-ce utopiste ou idéalisé mais sans attendre un tel résultat, lorsque chacun s’applique, dans sa vie personnelle, à cultiver l’esprit altruiste, impersonnel, solidaire et bienveillant qui allie bonté et recul, il crée de l’amour universel et se libère lui-même des attentes illusoires et décevantes d’être « reconnu » par l’autre. Cela apporte déjà maintes solutions aux combats quotidiens de l’ego, et ainsi l’esprit fraternel s’étendra de proche en proche.

 Pour terminer, voici une citation concernant ce signe : « A toi, Verseau, je donne la conception du futur pour que l’homme puisse dépasser ses limites. Tu connaîtras la douleur de la solitude. Mais, pour ouvrir les yeux de l’être humain à d’autres possibilités, je te fais don de la liberté ; elle te permettra de continuer à servir l’humanité lorsque cela est nécessaire.»


Le Sentier février 2015

La bonne vie

 

"The good life is one inspired by love and guided by knowledge."

La bonne vie est inspirée par l'amour et guidée par la connaissance 

Bertrand Russell (1872 - 1970)

British philosopher and essayist

Coeur pas lourd

 "Mon" coeur de pierre , trouvé et offert par Catherine P, m'attend en irlande : un gros cadeau.

Aquarius full moon

 The full moon will be on Wednesday (or Tuesday for certain time zones).

Almost all people are searching: for happiness, for love, for fulfillment, for success, for recognition, for healing, for peace … for the unnamable something, which seems to be missing. This search leads us further away from ourselves, because we are looking outwards and hope for the fulfillment of a truth, that is inwardly already perfect. The less we search in the outer world, the more we will discover inside us.

The exact time of the next full moon is:
Wednesday * 4th February 2015 * 12:08:54 am
Central European Time (CET)
Moon sign: Leo 14° 04'

Peur de la mort

"Master," once, a young man approached his teacher, "I fear death; how can I get rid of this fear?"
Maître, dit un jour un jeune homme à son instructeur,  je crains la mort . Comment puis-je me débarrasser de cette peur ?

"Tell me," the old man answered, "When you borrow a few coins, are you afraid to give them back later?"
" Dites-moi lui répondit le Maître , lorsque vous empruntez quelques pièces avez-vous peur de les rendre?"

"Of course not," the student answered with surprise, "but what does this have to do with my fear?"
"Bien sûr que non , répondit l'étudiant, mais qu'est ce que cela aurait à voir avec ma peur ?"

The teacher picked up a small piece of soil from the ground and continued, "You have received your body in debt with required return. And every bite of bread eaten by you, every sip of water drank by you increases that debt. You are made from dust on which you walk and the ground is your main creditor, constantly reminding you of this debt. It is pulling you down towards it. In the end, the ground will swallow you whole, without any remains."
Le Maître ramassa un peu de terre sur le sol et continua " Vous avez reçu votre corps tel un prêt que vous devrez rembourser. Chaque miette de pain mangée , chaque goutte d'eau bue augmentent votre dette . Vous êtes fait de la poussière sur laquelle vous marchez et le sol est votre principal créditeur. Sans cesse il vous rappelle cette dette. Elle vous attire à lui . Et à la fin il vous dépuillera tout entier , sans rien laisser. "

The old man threw the soil into the air, after attaining its fall, he finished, "No matter how high you rise, how long you are in the flight, you will still need to fall down. That is given. And to cope with the fear of this fall is very easy; stop thinking about yourself as the master of your body. Face the thought that you are just a tenant. And because you don't know the length of your rent, remember that it can end at any second. We are all debtors, and our debts will certainly be recovered, no matter if we fear it or not. So is there a point of being afraid?
Le vieil homme jeta la terre en l'air . Quand elle fut retombée il dit : Aussi haut que vous  puissiez grimper , aussi longtemps que vous parveniez à voler , il vous faudra redescendre . C'est une certitude. Et il est simple de ne pas craindre cette dégringolade . Réalisez que vous n'êtes que locataire de ce corps . Puisque que vous ne savez pas pour combien de temps , souvenez vous que cette location peut s'arrêter d'une minute à l'autre. Nous sommes tous des débiteurs et nos dettes seront forcément remboursées que l'on ait peur ou pas . Donc à quoi servirait-il d'avoir peur ?

Trois passions

  

"Three passions, simple but overwhelmingly strong,

have governed my life: the longing for love, the search for knowledge,

 and unbearable pity for the suffering of mankind."

Bertrand Russell (1872 - 1970)

British philosopher and essayist

Trois passions , simples mais incroyablement fortes 

Ont gouverné ma vie : la poursuite d'un amour  , la recherche de la connaissance 

et l'insupportable pitié de l'humanité souffrante

Sans faute ou cent fautes

Une dictée sans faute.                                          


Dans la cuisine du vieux chalet                                       
Un ravioli, au fond d'un petit
poèlon  réchauffe , et il dore sous une
couche de gruyère rapé                                                                                  .
Le vieux chalet est bien tranquille.                                 
Pour le diner, tout sera grillé,                                           
appétissant, fondant! Le fromage                                     
est posé sur un plat ravissant.                                        
Sans doute, et d'une bouchée, il
sera avalé . Le saucisson gras et                                                                                           
bien tendre, sera coupé en                                                
rondelles. Et, servi sur un plateau.                                  
Le chocolat bout, le verser sera                                         
délicat et dangereux! D'un seul                                        
coup, il écume et gorge le chalet                                      
d'un bon et tranquille parfum.

Une dictée cent fautes 

Dans la cuisine du vieux chat laid
Un rat vit au lit, au fond d'un petit
poële long. Réchauffé, il dort sous
une couche de gruyère râpé. Le
vieux chat laid est bien tranquille. 
Pour le diner, tout ce rat, gris et
appétissant, fond dans le fromage.
Et posé sur un plat, ravi, sans s'en 
douter, d'une bouchée, il sera avalé!
Le sot, si son gras est bien tendre,
sera coupé en rondelles et servi sur
un plat. Oh! le choc! hola!
Bouleversé ce rat délicat est
dangereux! D'un seul coup, il écume, 
égorge le chat laid d'un bond 
et tranquille, part.

                              Fin