Make way for French and oriental music this Saturday, September 4, from 9:05 p.m. on France 2, with the broadcast of La Fête de la chanson à l’orientale. Its co-presenter Laury Thilleman tells you the moments of the show not to be missed.
This Saturday, September 4, Laury Thilleman is at the head of the new premium La Fête de la chanson à l’orientale on France 2, from 9:05 p.m., captured during two evenings in Marrakech in June, just after the reopening of the Moroccan borders. . Juan Arbaelez’s wife, who confided in our microphone on her job as a TV host, tells us more about the behind the scenes of the show and her favorite extracts in the company of two big names in French song.
It’s always amazing to be able to travel while working! Well, I haven’t seen much, I haven’t been a tourist for lack of time, but if only to be at the Hotel Selman [palace which served as a filming location, note], with the view on the swimming pool, the scene which was assembled as you go … It was just crazy to be in an outdoor place in La Plaine Saint-Denis! [She laughs]
The sun sets early in Marrakech in June: to have the security of starting to shoot at sunset and then at night, with a time slot so short that it is impossible for us to shoot a two-hour show at once, that was shot over two days to get the best light. It also made it possible to free artists and not block them for two days.
I was not really alone: there was also André Manoukian supporting all the historical side of oriental music. It’s a musical but also a cultural show where we learn a lot of things, and André is really our “music school teacher” guarantee! But it’s true that I was delighted to wear most of the show. I love this job and the challenges, like filming in Marrakech.
What is the main difference between a solo animation and a duo animation, as was the case for La Fête de la Musique 2021 with Garou?
On La Fête de la Musique, it is really music that is in the spotlight. We are the guides, throughout the evening, there is the adrenaline of the live … But there are few interventions on our part and once we are there and we have worked well, that’s not the hardest part! The difficulty in Marrakech was in particular that we filmed with local technical means, with teams that we did not necessarily know like the assistants or the teleprompter girl … Prompteur too far away, so ultimately he didn’t there weren’t really any! It was a bit like “one again” [laughs]. And it’s also challenging, because we are sometimes used to Parisian comfort. All this will not be seen on the screen: it was hot in terms of logistics but we came to terms with it. Without forgetting the fact of being outdoors, alongside the artists in summer camp mode for 3-4 days for some, shared meals … That is priceless and it brings much more complicity.
I loved the moments shared with this great man who is Enrico Macias with whom we could do a full bonus, he has so much to tell us. He sang L’Oriental with Amir, paid tribute to his violinist dad with Le Violon de mon père … He could be the ambassador of the bridge between France and the Mediterranean. And he’s so cute: we all want to have Enrico Macias as our grandfather, he’s always happy to meet us and asks for news, even while recording! It is real and human. And I have to talk about Dany Brillant, who plays darbouka in total improvisation, who interferes in our orchestra and sings When I see your eyes, an oriental version! He was in a trance, it was magic.
For this new show, you found Daniela Lumbroso on the production side. Can we say that you are a great team?
Downright ! It’s a great duo that we formed a little spontaneously, from the shootings of Allez come I take you … on France 3. We had already turned around, she had already proposed projects to me. but I had been totally transparent with her telling her that I did not feel certain ideas. She finally figured out the things I wanted to do and what I didn’t want to do and, when we started working together, it was a great handover. Daniela, in entertainment, it’s still an example of a strong woman, sure of herself, producer, host … A superb example! We could have been in the competition, but it was more like an almost sister role … even sometimes I call her “Mom”! [Laughs] She feels like I’m her fourth daughter and I think it’s great: there is a real role of protection and kindness. When it’s going, we tell each other. When things aren’t going well, we know how to say it too. And that, usually, is not always won.
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