Chapter 7


Alain Boillat, “Prolégomènes à une réflexion sur les formes et les enjeux d’un dialogue intermédial: Essai sur quelques rencontres entre la bande dessinée et le cinéma,” in Les cases à l’écran: Bande dessinée et cinéma en dialogue, ed. Alain Boillat (2010), 29.


Peter Jackson, quoted by Alain Lorfèvre, “Spielberg et Jackson pour Tintin.”

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The article is accessible at the following address:

Peter Jackson’s comments can be translated as follows:

Peter Jackson nevertheless remarked that ‘We’re making them look photorealistic; the fibres of their clothing, the pores of their skin and each individual hair. They look exactly like real people – but real Hergé people!’


Preface by Peter Jackson to Chris Guise, Artbook: Les Aventures de Tintin (Wellington: Éditions Weta/Moulinsart, 2011), 14.


As was the case in 1964 with the film Tintin et les oranges bleues, directed by Philippe Condroyer with Jean-Pierre Talbot in the role of Tintin.


Steven Spielberg, quoted by Alain Lorfèvre, “Spielberg et Jackson pour Tintin.”

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The article is accessible at the following address:

Steven Spielberg’s comments can be translated as follows:

‘Hergé’s heroes had come to life, with emotions and a soul which far surpassed anything we had seen to date in synthetic images,’ Steven Spielberg remarked about the test performed at WETA.




Peeters, “Retrouver la ligne claire,” 46–47.


Ibid., 47.


Gad Elmaleh’s comments were relayed in an interview with Jamie Bell by Philippe Manche in the daily newspaper Le Soir (“Jamie Bell: ‘Tintin est très complexe,’” Le Soir, October 26, 2011).

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The interview is accessible online ( In another article in Le Soir published the same day, entitled “Tintin au pays de Spielberg” (“Tintin in the Land of Spielberg”), Philippe Manche also quotes Andy Serkis, who played Haddock and who goes one step further by drawing attention to the need to use parsimoniously a technique as precise as this, with such a direct “recording synergy” with the body:

The technology is so precise, it responds to the slightest movement, that you mustn’t overdo it. You also have to be extremely aware of the way in which you use your own body (


An expression used by Peter Jackson himself. See his preface in Guise, Artbook: Les Aventures de Tintin, 14.




Michel Chion, “Un autre corps que le sien,” Positif 617–18 (July-August 2012): 69.




Ibid., 70.


Ibid., 69.

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He concludes that the viewer’s reverie in the face of profilmic reality is one of the pleasures of cinema, “including with special effects films from olden days (how big was the scale model of this space ship they built?)” and that we “might think that performance capture is a new form that [this reverie] has recently taken” (ibid., p. 71).

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