Harrock n roll
· Posted: 5 Apr 2004 06:45
Thanks for correcting me on the location there! One would think that Fondation Hergé has enough money to do it, n'est-pas?
I hope that this is not too off topic, but here's another article (which I translated badly, a while ago) - an interview with Fanny Rodwell from back in '97.
Fanny R.: "Independent, like Tintin!"
- will there be new adventures of Tintin, done for others like Blake and Mortimer?
- That would not even come me to mind. If it were clearly expressed on this subject in its discussions with Numa Sadoul, Hergé never anything said me of explicit on this subject, but for me, to prolong a work, I do not want to upset anybody by saying that, it is like making a forgery in writing. An author, it is not only the inspiration, it is also the vibration, which passes in all that it makes. One "does not manufacture" not a work, that seems obvious to me.
- the Hergé museum, on the other hand, seems to hold you with heart.
- Yes it is something which I for a long time have with the spirit. It is an idea which must mature, obviously. But the search for a ground is in hand since step badly of time. It is not simple, because to find a ground significant in Brussels is not a small matter. It should be known that it will be a private museum, in which we will invest much, but we always thought that it would be desirable that the authorities, on some level that it is, provide us the ground. My dream being to build something, not to arrange an old building. Because I would like to be able to design the ECRIN which will accomodate the collections. And an opportunity arised...
- From where did it come?
- the town of Brussels east finalizing the acquisition of a ground which is close to the Agneessens place. It is in the center of Brussels, at ten minutes with foot of the Town square, close to a subway station, not far away from the station of the South. There is a project to arrange a small park in the vicinity. All that will be able to only contribute to the improvement of the general environment.
- Thus you completely exclude fusion with the Belgian Center from the Comic strip?
- I would prefer to build something of specific. That must hold with my character, which is rather independent. Hergé also was very independent, and Tintin also, of course.
- Which type of museum want to be done?
- While proceeding by projection of what we hope to put at it, one provides that it should have 3.500 square meters useful, which would imply that more than fifteen people are employed there. It will be necessary that the design of the places of exposure, of the course of the visitor is done in harmony with the architect, that there is a audio-visual space, a kind of small school of Tournesol which is a place of initiation to sciences for the children, it is a thing to which Hergé would have held much. Personalities - I dream of a Hubert Reeves, for example - would come to make conferences there, on the wonders and the mysteries of the universe. Because it is necessary to remain in the spirit of work, in what it has of human, of humanistic, of ecological too. And to return justice to all its dimensions: the beauty of the drawing, content of the scenarios, humour. It is for this reason also that we are so much purists, my husband especially, for the quality of the reproductions. Perhaps that we are too demanding, too on the alert.
- How do you react to the press conference where one declared that you misuse your rights by prohibiting certain uses of work?
- I had the impression that one drew with the bazooka on a fly. The unjust and defamatory things which were known as are without proportion with decisions that the Hergé Foundation estimated to have to take. When uses do not seem to me worthy of Tintin on the ethical or aesthetic level, I am shocked. If I take the example of the book projected on the influence exerted by Jules Verne on Hergé, we did not grant the authorization of reproduction of 80 visual because we do not find not justified to make think that Hergé would have plagiarized, copied Jules Verne. It is not in us, Fondation, to ratify that. But it is always very difficult to say not to people, and even more difficult to intend itself to say not. It does not remain about it less than Hergé is not in the public domain, even if it belongs to the national heritage, even international. All the danger comes from the extraordinary popularity of Tintin, and thus that everyone covets it, and wants to adapt it. And as soon as we exert our right, which is an honor, but also a responsibility, one passes immediately for the malicious one, the bastard. We believe that any participle of the life of work, of the most original interpretations which the exégètes with the most various forms of merchandising propose, but provided that anything is not done. It is accordingly that we also wanted to recover the secondary legislations, and all to gather in a center. I, formerly, had let them escape imprudently, and to find them many concern and much money cost us, several lawsuits which we all gained with an exception, and always on the basis of ethical and aesthetic argument. That one does not come to say whereas one is interested only in the fric and that one fout of work! However, one was attacked, violated so much often that it may be that one becomes a little paranoiac... But it is not a reason to leave squatter and to be made say that one does not have that to close the mouth and to open the wallet. - It would be said that this attack reinforced your combativeness? - It may be that after a similar thing one smells oneself more extremely, because one passes by all the stages: indignation, the discouragement, anger. The advantage, it is that that leads us to define our position, with better defining it publicly. But the slap nevertheless was enormous! Perhaps we needed this jolt to move.
Remarks collected by Jacques De Decker 09/05/97 - and poorly translated by Chris Owens 2003 © Rossel & Co SA - the Brussels LE SOIR