Collage curtesy of MYNA MORAMENTO RAFI

oh no! where is my hair? 🙂

It has been 30 + years since we have heard and seen the Désenchantée for the first time.

Guess how many times the song was performed by Mylene though all these years? Believe or not the count is over 150 times! It is the only song she has performed in every concert and the tour (except the one prior to the birth of the song – En concert) since its creation! It remains to be a crown jewel of any Mylene’s live event. Over the years there were many different arrangements of the song, but it is also the most recognizable and the most loved from Mylene – her signature song.

“Désenchantée” (English: “Disappointed”) is a 1991 song recorded by Mylène Farmer. The first single from her third studio album L’Autre…, it was released on 18 March 1991 and achieved great success in France, topping the charts for more than two months. It was Farmer’s most successful song ever recorded.

Let’s take a time travel in time back to the 1990: it’s a difficult year for fans who were not yet used to periods of silence and media withdrawal from Mylène.

Very little news to put in their mouths: the continued exploitation of the album En concert with a last single extracted, Plus Grandir Live on April 23, then the release of the show’s VHS in November. These are also first rumors around the next album.

For Mylène, it is a period of transition that is probably quite difficult to experience.

The meeting with her audience during concerts and then the end of the tour and the emptiness that followed were destabilizing times for her.

“It’s a moment of emptiness, and not of doubt. An absence of ideas about writing for another album. That’s why I let a little time pass before I started writing again. . It’s hard to imagine writing after such a moment … The return to everyday life was a bit like a depression, but I was still relatively surrounded. But all these states of affairs very powerful and then nothing, it is almost inhuman. Every artist has to experience this happily – or unfortunately … “(Mylène Farmer – Podium – May 1991)

This does not mean that work is absent with the promotion in certain European countries of the album Ainsi Soit Je… and in particular of the titles Sans Contefaçon and Douces .

Mylène also takes the opportunity to read, learn to drive and improve her English.(time well spent if you ask me, especially knowing that she will need it very much only in 5 years or so in the US)

Some changes in the team: departure of her first manager Bertrand Le Page, arrival of Thierry Suc already co-producer of the 1989 concerts and who becomes Mylène’s manager and will be by her side for all these years.

Finally, Mylène will devote herself to writing the new album and then working in the studio over a period of five months.

What is immediately striking is obviously Mylène’s new look: still red hair but short, giving her an almost androgynous appearance. I think she never quit playing with those aspect raising them to the unreachable standards – I love love love her androgynous than and now when she occasionally teases us with her Tetu photos, and I sure hope there is more to come…

At the end of 1989, the decision seemed to be made, Mylène declared: “Maybe I’ll cut my hair. It’s not an easy decision, but I really like the boyish style Jane Birkin had in the days of Je t’aime moi non plus. You will see me with hair. short but on next year ” (Mylène Farmer – Coiffure Beauté International – December 1989)

The cut, performed over two five-hour sessions on January 11 and 12, 1991 by Jean-Marc Maniatis, was immortalized in photos by Marianne Rosenstiehl. We discover Mylène’s gaze, sometimes skeptical, sometimes seduced, sometimes anguished. I can imagine the split emotions she had experienced cutting her gorgeous golden mane.

“I wanted to change my head without really transforming myself. I feel good in my haircut, in my new head, in fact I am less moved by my fragility. ” (Mylène Farmer – “Star Music” – N ° 18 – May 1991)

The lyrics to Désenchantée were written by Mylène Farmer.The handwritten text of the chanson Désenchantée and the declaration form deposited at Sacem on November 23, 1990.

After listening to her two previous albums, Cendres de lune and Ainsy Soit Je…, we can distinguish in Mylène the Libertine and the Mélancolique.

The words of Désenchantée may have been inspired by her readings, in particular Emil Cioran – author whom she often quotes in interviews – with On the peaks of despair or Ecartancement.

Interestingly its him who said “I only write this kind of stuff, because explaining bores me terribly” – reminds you of someone you know? 😊

For her return with Désenchantée, Mylène offers a dark text on this ” permanent loss of illusion ” (Mylène Farmer – Podium – September 1991) but carrying a message that seems unusually universal for the singer.

“Disappointed Generation”: many people will attribute a political meaning to the song. Indeed, the title comes out in a period of great gloom in France. We talk a lot about the disappointed of Mitterandism, François Mitterrand having been re-elected President of the Republic in 1988 following a campaign which particularly appealed to young people, campaign carried by the slogan “Generation Mitterrand”.

For Mylène, there is no political demand in this text (at least as we are aware of). Please find a very complete interview on the topic later on the page. It will answer a lot of your questions.

“This only implies me. I am not saying that the times are ‘disenchanted’. But that my outlook on life, on things is. It is Mylène Farmer who is disenchanted. My request is fundamentally narcissistic and egotist. [again, very much echoes Emil Cioran philosophy:” Chaos is rejecting all you have learned. Chaos is being yourself.” (note the choice of words!)

I cannot pronounce negativism, by affirming it. It is not pessimism to think that one in 91 became more lucid, more aware of its disillusions than before. From its birth, I believe that one undergoes his life, his death. In this matter, one cannot be fundamentally an interventionist. I have a problem with life, but I live, so everything is not going so badly as one thinks. ” (Mylène Farmer – “Star Music” – N ° 18 – May 1991. Totally Emil Cioran if you ask me!

“We may ask our generation to have nothing more than a great lucidity as regards life and its difficulties; to have this feeling that one is constantly in search of freedom and that this freedom opens onto a great desert. So, all of these are great losses of illusions. Now, there, I’m talking more about myself, finally, than of a real generation. ” (Mylène Farmer – NRJ – 04/05/1991)

Mylène will repeat during several interviews in the media that she is “not out of time, but out of History” (Mylène Farmer – RTL – 04/08/1991) For Laurent Boutonnat, the scope of this title seems on the other hand wider: “Disenchantment is a spotlight on a generation in need of a future “. Its not a secret that it is still the same old and beloved theme of the missing “L’Autre”, especially in the line: “Je cherche une âme qui Pourra m’aider”

Laurent Boutonnat offers for this title an unstoppable melody, as only he has the secret.

Two remixes created by Laurent Boutonnat and Thierry Rogen, the “Chaos Mix”

and the “Remix Club” (my very favorite from the early ones):

The second was massively broadcast in nightclubs during the summer of 1991, allowing the song to reach first place among the hits of the clubs of the time.

Thierry Rogen, who took part in the arrangements and then in the remixes of Désenchantée, told the painful genesis of this title.

At the time, many demonstrations were organized by students throughout France to protest against their status and conditions for learning, and the Gulf War was raging. The pessimistic lyrics of the song strongly echoed the feelings toward worldwide events and thus certainly contributed to its success. According to the sound engineer, Thierry Rogen, “Désenchantée” was recorded four times. Boutonnat originally wanted a jerky song with techno influences, but Rogen convinced him to add drums and a more funk sound.The text was inspired by the 1934 book On the Heights of Despair by the Romanian philosopher Emil Cioran.

“It is the greatest memory of production that I have. One day, I was at Laurent’s and as he never did a model and he kept everything in mind, he took out his little piano and told me about it. made Disenchanted. My first hot reaction was: it’s a huge hit. I excited them with my own excitement, and suddenly we stuck an extra pressure that we already had with the preparation of the album The other …! For the record, Désenchantée has been recorded four times. The first three, we put it in the trash. We couldn’t do it, the arrangements weren’t good. The third time, Laurent got to such a point of nervousness that he said: “I’m going to throw it away”, and he left, slamming the door, exasperated.

Once alone, I worked on a completely different rhythm. Originally, Laurent wanted this choppy song with techno bass. And I felt her rather groove, with brass gimmicks. So, I took it up with this in mind, with more funk batteries. Laurent came back the next day, and he bounced back on my idea. The day we finally mixed the version you know, our fingers were heating up, because we knew we were holding a huge hit! We were not wrong, but sometimes, the biggest hits are born in pain … It remains for me the strongest song of Mylène and, I am very proud of the direction taken by the arrangement of this title.” (Thierry Rogen -” Instant Mag “- N ° 14)

Among the choristers for the recording of Désenchantée, we find Sophie Tellier, choreographer and dancer on the Tour 89 but also an actress in several clips such as Libertine and Tristana as well as Dominique Martinelli also a dancer alongside Mylène in particular on the Tour 89. They are thanked in the booklet by their first names.

“Mylène and Laurent have always heard me sing during dance rehearsals. So I think they wanted me to come and put a little voice on one of their song. It was quite symbolic, a friendly collaboration. I was only present during the recording of the choirs of Désenchantée. It was very short; it took us a day of work all together. Mylène was there during the recording, she intervened a little to direct us. Upstream work was done, we just came to pose our voices for the choirs. The atmosphere was very pleasant. ” (Sophie Tellier -” Styx Magazine Special Mylène Farmer / The other … “- April 2011)

The single was released on March 18, 1991. Due to its success, it will become Mylène’s single having benefited from the largest number of media (promo + trade – details in the Désenchantée repository). He entered 12th place in the French top 50 and reached in his third week of classification the first position he will occupy for nine consecutive weeks. It will sell more than 800,000 copies in France and be certified gold record.

It remains the biggest success in terms of sales or rankings for a single from Mylène in France. The album The Other … , released on April 8, 1991, is simultaneously number one in sales in France.

Mylène Farmer – Disenchanted – 45 Tours

Désenchantée is THE hit of the spring then the summer of 1991: number one in radio, TV, sales then in clubs.

Performance and interview of Mylène Farmer in the program “Sacrée soirée” on TF1 on April 17, 1991. She made her return to the media after 2 years of absence by performing “Désenchantée” for the first time.

Another sign of success: the copyrights generated by this song are the most important in 1991 in France according to Sacem and Désenchantée will still be ranked among the top ten for 1992. Désenchantée also becomes a hit in Belgium, ranking five weeks in first place in sales.

04 Mar 1991, Budapest, Hungary – Mylène Farmer on the set of her music video directed by French composer and director Laurent Boutonnat

The title will meet with unusual success for a French artist in other European countries.

Désenchantée manages to integrate the sales charts of several countries (23rd in Switzerland, 19th in the Netherlands, 16th in Austria and 46th in Germany).

The song is also a hit on radio in Europe, particularly in Switzerland (top4 of the country’s airplay), Austria (top12), the Netherlands (top15) and Germany (top20). Radio stations will also enter the title in their playlist in Denmark, Norway, Finland or Italy. I don’t know the ranking in Russia, but I can testify from teh experience I kept heating it everywhere. The clip was on teh TV practically daily. I knew the lyrics by heart by the end of 1991 (with the translation)

It is the biggest success for a single from Mylène abroad.

The cover of Désenchantée by Kate Ryan during the summer of 2002

will allow the song to even more massively impose itself in Europe (Désenchantée is the 7th most widely broadcast French song in the world in 2002).

The song was released again on September 28, 2016 of a maxi vinyl picture disc sold exclusively by Fnac and why not?

A reissue of the Maxi 45 Tours is available on December 08, 2017. Release on January 11, 2019 of an Orange Maxi 45 Tours Collector sold exclusively by Universal Music.

Mylène Farmer Maxi 45 Tours Reissue 2017 Disenchanted

The music video was produced by Requiem Publishing and Heathcliff SA and directed by Laurent Boutonnat, who also wrote the script. Shot for five days (from 18 to 23 February 1991) in Budapest, Hungary, with a budget of about 240,000 euros, this video was one of the longest at the time (10:12) and used many extras: 119 children and many Hungarian actors such as Erika Francz Jánosné. There is another version shortened to four minutes. The video for the single features a riot in what appears to be a concentration camp or gulag facility where adults and children are subjected to forced labor and being treated abysmally by armed guards. The riot scenes are quite realistically shot and contain much violence. The anthem-like song goes well with the visual background. According to French magazine Instant-Mag, this music video has a fairly similar structure to that of “Tristana”. It has a gloomy story, an ambiguous ending, allows various interpretations, and deals with the theme of messianism. Farmer “symbolically embodies the spirit of freedom”. The final scene is inspired by the 1830 painting La Liberté guidant le peuple by Eugène Delacroix.

To promote and defend the title, Mylène will interpret it in five television shows, including one in Italy.

It is from Disenchanted that Mylène’s television appearances will become rarer. The programs are carefully chosen, and the performances refined to the extreme (with the use of ampex).

The promo began on television on Sunday April 07, 1991 with the broadcast of a 50-minute program recorded on the set of the filming of the clip Désenchantée. “Pour un clip avec toi” offers a very long interview of Mylène with Laurent Boyer and unpublished images of the shoot.

The first photos of the clip as well as the new look of Mylène had been unveiled a week earlier in the magazine “Télé 7 Jours” whose singer made the front page and to which she gave an interview.

On April 10, 1991, for the first time, Mylène was the guest of a 20-hour newscast and not the least since it was the one on TF1 presented by Patrick Poivre d’Arvor.

Mylène’s first performance on Désenchantée with choreography is offered on TF1 on Wednesday April 17, 1991 in “Sacrée Soirée”.

Until the end of May, Mylène will reinterpret Désenchantée in three other programs broadcast on TF1, “Stars 90”, “Tous à la Une” and “

In parallel, Mylène multiplies the interviews on the radios but especially in the press. In September, she sings Désenchantée in a program in Italy broadcast on Rai Uno.

Désenchantée has become essential during concerts. This is the Farmerian hymn.

Let’s play the “favorite” game once more and chose your preferred live version of the song (see below the videos to refresh your memory)

Did you notice that the song is always has a different spin for each concert tour and even has its own theme. I can’t wait to see what NEVERMORE 2023 will bring. I also have noticed the song becomes longer and longer from as time goes on A first 1996 performance lasted 7 min 31 sec but the tour of 2009 has it extended to 11 min 35 sec! It is almost 10% of the entire concert length! It is also a centerpiece and the culmination of any Mylene’s live event

TOUR 1996

In the TOUR 1996 the song lasted 7 min 31 sec. It starts much slower and brings almost calming feel. It develops without rushing into the masterful remake of the original version. Well, the song only 5 years old back then and didn’t need an upgraded sound per se.

Désenchantée was sung live for the first time during the 1996 Tour from May 25 to December 15, 1996. Arrangements for the stage: Laurent Boutonnat. Choreography: Mylène Farmer.


MYLENIUM TOUR (length 7 min 36 sec) Has very ethnic and natural feel just like the entire Tour

Désenchantée is sung on all the dates of the Mylenium Tour from September 21, 1999 to March 8, 2000. Arrangements for the stage: Yvan Cassar. Choreography: Mylène Farmer.

avant que l’ombre…a Bercy 2006

BEFORE THE SHADOW … IN BERCY (length 9 min 14 sec) very energetic and empowering

During the thirteen concerts of 2006, Before the shadow … in Bercy , Mylène sings again Désenchantée from January 13 to 28, 2006 . Arrangements for the stage: Yvan Cassar. Choreography: Mylène Farmer.

TOUR 2009

TOUR 2009 (length 11 min 35 sec! – wow the longest of all) Very high tech and very army like with the leather jacket on Mylene and the military inspired clothing on the dancer with a big “X” on the back.

Désenchantée is sung on all the dates of the 2009 Tour indoors from May 02 to July 01, 2009 then in stadiums from September 04 to 19, 2009. For stadium concerts, the song is the end of the show. Did you notice the choreography portraying the insect and there was also a giant bug at some point of the show, right? I bet it hints to the infamous cockroach from the clip – the one the guy just ate…

Arrangements for the stage: Yvan Cassar. Choreography: Mylène Farmer and Christophe Danchaud.

For the backdrop (digital screen images for the song) – do you see a shortest figure on the left – it is Lisa Gautier – Mylene’s niece. More about her HERE


TIMELESS 2013 (length 8 min 56 sec)

Did you notice bunch of digital spiders crawling on the background screen – arachnophobia reminder indeed! OR…Is it Mylene’s hidden hint to the modern world as a net? Some of us believe that its a hidden powerful infrastructure (The net) which is a real government of the World. Is it why we are perpetually Désenchantée?

Désenchantée is performed on all dates of the 2013 Timeless tour, from September 07 to December 06, 2013. Arrangements for the stage: Laurent Boutonnat. Choreography: Mylène Farmer and Christophe Danchaud.

Paris Défense Arena 2019

LIVE 2019 (length 9 min 50 sec) Very different. Very Marvel like with the dancer wearing metallic outfits. It started very slow and took very different arrangement all together. Very surprising, nostalgic and futuristic to make a good match with the entire concert theme. It has a lot of background effects like a howling or winds and somewhat somber Mylene is wearing superhero tux. The song immerges into the Rêver and Je te rende ton amour where she sits on the throne embellished with the volves’ heads – gorgeous presentation with the digital human head in teh background.

Mylène sings Désenchantée during the nine concerts at Paris La Défense Arena from June 07 to 22, 2019. Arrangements for the stage: Olivier Schultheis. Choreography: Aziz Baki and Mylène Farmer.

Since its very hard to find a good video of the 2019, here is a nice quality link. The song starts at 1 h 16 min point: https://www.bilibili.com/video/BV1EJ411t71F/?spm_id_from=333.788.videocard.11

“Désenchantée” has a melodious tune, and its lyrics have “unexpected hyphenate which dissect the phrases in small sections”. This song also has “a very dancing rhythmic color” thanks to the chords played on the piano in the introduction, the bright and chiseled percussion or vocals (performed by Debbie Davis and Carole Fredericks) which bring out the refrain. In the lyrics, the singer expresses her great lucidity on the absurdity of the world and discusses topics related to the existentialism.

One of the things I’ve learned over the years is that it is dangerous for others to speak about the meaning of an artist’s work. Be it a painting, sculpture, or song. Those presumptuous to regurgitate what others believe the work to be, denies any intention of the artist to allow us to each have their own personal interpretation of what something is/means. And after all, isn’t the meaning of something to someone personally all that truly matters to the artist? That they have taken a piece of work from the artist and made it have personal meaning to themselves and their lives. I don’t think any artist could have more honor bestowed on them by anyone than a work having meaning to someone other than themselves?

For those of us old enough to remember life in the 1980’s when the Soviet Union still existed and controlled parts of Central Europe and Eastern Europe this video brings back memories of things, we wish we could forget on both sides of the iron curtain. Gulags, hunger, needless suffering, Stazi (Stalin Nazi) turning automatic weapons on their own people to prevent them from escaping to the West and freedom.

For many of us who were in our late teens and early twenties at that time, the fall of the Berlin wall is the greatest single event that defines our generation. The Cold War has ended at that point.

The scene where Mylene leads the escape from inside the gulag/prison onto the sea ice is like the fall of the Berlin wall and German Reunification. Freedom at last. The scene on the sea ice is Eastern Europe’s coming to grips with what freedom is. That whole generation was lost for a time and disappointed with what life in the West was. Many were lost and pined for the Days of the Communists telling them what to do. Ask anyone from that period to watch this video and they will point out something that personally moves them or has meaning.as it was personally for me – my deep-down primal cry for Freedom (which I pursued and succeed but nearly cost me my life)

What Mylene Farmer personally was expressing as to what the songs meaning is, is unknown to me and perhaps while she still is alive, someone should ask her for posterity. All I know is that I have taken her songs to heart and this song has special meaning to me. Merci beaucoup Mylene! Gros Bisous!

For the first time, a TV crew (Laurent Boyer and some technicians) was invited to attend the filming of a clip of Mylène for two days, in this case that of the new single, Désenchantée .

The recording took place in February 1991 in Budapest, Hungary.

Long interview with Mylène interspersed with extracts from the filming of the clip but also old clips or extracts from concerts in 1989. A few words also from Laurent Boutonnat.

The show was broadcast for the first time on M6 on Sunday 07 April 1991 in the morning on M6.

It will be rebroadcast with a different montage on August 31, 1994 on M6 in the program “Fan Club” presented by Laurent Boyer.

Interview carried out on the set of the clip Désenchantée in Hungary in February.

  • Laurent Boyer: It is live from Budapest, in Hungary, in fact at the exit of the city, that we are installed for the fifth day of filming of the clip which one waited, finally of the clip and the 45 turns of Mylène Farmer which is called Désenchantée, which you have been hearing on the radio since March 18, awaiting an album called L’Autre… (The Other), and which will be released on April 8. So, already, thank you, Mylène, for having us here, because this is the first time that a television team – small, the team – has the right to set up on the set of a clip. This is the first. Hello Mylène!
  • Mylene Farmer: Hello (she smiles then lowers her head, her eyes down to the ground).
  • Laurent Boyer: So you discover a Mylène Farmer a bit … we don’t quite understand what … We say to ourselves that she came out of a Charles Dickens novel. You see that this morning, we beat her up a bit. She has a little bit of blood flowing from her lips. She has suffered a lot and she is dressed, as usual, by Thierry Mugler or Amor, as we can see. Mylène, welcome. Thank you for having us here, it’s very nice. (looking back) I think that’s actually the frame at the start of the clip?
  • Mylène Farmer: Yes.
  • Laurent Boyer: I think the clip starts like that. We are in the middle of filming so we are like you, we discover a little the atmosphere of this clip. So, it’s Mylène Farmer in this outfit that we will discover in the clip…
  • Mylène Farmer: Without the coat!
  • Laurent Boyer: Without the coat, because the coat has a little more fashion …
  • Mylène Farmer: A little modern.
  • Laurent Boyer: It must be said that it is not very hot. Fifth day of shooting. How long have you been living here, Mylène? Has it been a week?
  • Mylène Farmer: It’s been about eight days.
  • Laurent Boyer: I know it’s not very easy for you because there are climatic conditions which are not obvious. I think it was very cold last week …
  • Mylène Farmer: Yes, much colder than today.
  • Laurent Boyer: There, things are a little better. We are entitled to the sun in Budapest. It is quite pretty. And then, you get up very early, and you run around all day, right?
  • Mylène Farmer: We have a little different hours every day. But this morning, we got up at five in the morning.
  • Laurent Boyer: So this album is coming. We have heard a lot about it. And though, since you’ve been away for a while, actually. Since the last Bercy, we no longer hear about Mylène Farmer. In other words, there was …
  • Mylène Farmer: I think it’s been a little over a year now.
  • Laurent Boyer: What happened? Was it a retreat or was it creation time?
  • Mylène Farmer: I think it’s a little bit of both. I think we need to hide after a scene. It’s a lot of emotion. And on the other hand, I prepared the … third album, I think?
  • Laurent Boyer: It’s the third. I confirm it to you.
  • Mylène Farmer: The third. And my gosh, there you go, it took about four, five months in the studio.
  • Laurent Boyer: From the studio, and also from creation, from writing, because you wrote …
  • Mylène Farmer: Yes. All the writing was really off the stage until it went into the studio.
  • Laurent Boyer: Can we say … We haven’t talked about this album yet. It’s coming out on April 8, so we don’t know yet … no one has listened. We know his name is L’Autre … . There was Ansi Soit Je… there is L’Autre … .now. What is it, is this album a continuity?
  • Mylène Farmer: I have a little trouble explaining the content of an album. But, I would say it’s in the same vein. It’s very hard for me. It’s something quite mysterious after all. Same for me.
  • Laurent Boyer: Is there anyone who wrote on this album?
  • Mylène Farmer: Yes.
  • Laurent Boyer: Where will we find other texts, other people? There are about ten titles, right?
  • Mylène Farmer: Yes. There are about ten titles. There are even ten. And no, I am the only one to write. I have abandoned the poets. (laughs)
  • Laurent Boyer: Good. The shooting conditions, you will see, because you will see a lot of images of the shooting … we actually take advantage of it since you receive us here. You will discover how Laurent Boutonnat and Mylène Farmer work on a clip, on this clip that we will discover later, Désenchantée . You will see it twice, this clip, before the end of the show, two different versions. Are there about a hundred extras here?
  • Mylène Farmer: That’s it.
  • Laurent Boyer: Children. So why did you choose children? And, Hungarian children, in fact, in Budapest. Is there a specific reason?
  • Mylène Farmer: There are several reasons for choosing Hungary. First there is the snow. We wanted a snowy landscape. On the other hand, we actually wanted a lot of extras. And, we especially wanted children who wear something serious in the face, in the eyes. It is true that the countries of the East, for that, it is fabulous. On the other hand, there are many, many technicians in Hungary who are very, very successful and professional. And finally, one of the last reasons is that it’s much cheaper, and that you can do great things with little money, after all.
  • Laurent Boyer: Does that mean that it will also be in line with Mylène Farmer’s imagery? Because it’s true that Mylène Farmer, we associate her with clips, scripted clips which are in fact films, we can no longer even talk about clips, we talk about films. Is it in the same vein and it still fits in this scripted and spectacular vein?
  • Mylène Farmer: It will be the same. It’s the same writing and the same director. And practically the same crew every time, on every shoot.
  • Laurent Boyer: Can we also say that, somewhere, in fact, if you come to shoot here, in Hungary, in Budapest … We often think about it for you … your cinematographic ambitions perhaps? , and those of Laurent … We can say there is perhaps also .. . We know that Cyrano de Bergerac was shot in Hungary. We can say to ourselves that there may also be, for all the conditions that you have given us, the beginnings of a future feature film or the means of spotting also for a feature film.
  • Mylène Farmer: That is something conceivable, which has been considered. But I admit that, for the moment, it is something that does not exist. And then, it’s something that belongs to Laurent, in any case, for the moment. So, in fact, I can’t say anything. But what I know is that he had indeed scouted, before considering the clip, in Hungary, for a feature film.
  • Laurent Boyer: The story of Mylène Farmer in clips. We will try to find it out. We are going to discover several extracts from Mylène’s great clips, and we will talk about them in a few moments.
  • Broadcasting of clips.
  • Laurent Boyer: There you go, Mylène. We just discovered the extracts from … we’re going to call them films. Mylène Farmer, from Libertine to  Tristana, all the great classics. How does it feel to actually review your story and almost your career in music videos? It is true that we associated that a lot, before the scene I hear; that is to say that the association was: “Mylène Farmer, it’s image. Mylène Farmer exists only through image”. Do you have this feeling? Do you claim it or, on the contrary, does it bother you now that you have made the scene?
  • Mylène Farmer: No, no ,. I have no embarrassment about my past. This is something that is, I believe, very important to me, the image. This is what made me known, most certainly. Of course, the songs, but it was something essential anyway. So I am very happy with it. Very happy. And it’s true that I needed the stage, but that’s for my own emotions, not … (silence)
  • Laurent Boyer: Precisely, in this regard, you say that, in fact, quite frequently, you are in a state of fear and you need this fear to forget. But to forget what? Your anxieties?
  • Mylène Farmer: To forget your anxieties, to forget that life is deeply hard and sometimes laborious.
  • Laurent Boyer: By the way, you quote someone called Luc Dietrich who says: “Forgetting is the sleep of our pains”.
  • Mylène Farmer: Yes. No comment! (laughs)
  • Laurent Boyer: Is that it? You confirm? There are no problems, it stays that. But does this scare do you good, does it motivate you? For example, when you get into the studio, you say that you have some anxieties. But when you were talking about that, you hadn’t yet done the scene: there had not yet been the Palais des Sports, there had not been Bercy …
  • Mylène Farmer: The real anxieties are nevertheless those, I believe, of the scene. The studio is something else. In any case, the studio, I would rather talk about the writing. Sometimes we have the impression that we have no more food to be able to donate things as well. So that is something that scared me a little bit. When you leave the stage, you are completely empty. And then, we realize that it is done over time.
  • Laurent Boyer: Emptied of his emotions, emptied of his stage fright, of his feelings?
  • Mylène Farmer: No. Full of emotions. But … it’s hard to express. It’s …
  • Laurent Boyer: It’s a bit special anyway for someone who is permanently scared or who has anxieties and fear,
  • Mylène Farmer: There is a difference between fear and anxiety, I think.
  • Laurent Boyer: Are the anxieties deeper?
  • Mylène Farmer: I don’t know. Well, I would summarize myself as someone who is anxious and not cowardly at all, on the other hand. It’s something very motivating after all, yes.
  • Laurent Boyer: The outlet is writing, at the same time? Like for example, you say that you had a writing period after Bercy …
  • Mylène Farmer: First of all, yes, it’s the writing, absolutely. But there is a lot to throw away. Precisely, when we have had very, very strong emotions like that, in general, after the emotion, it’s not the time to write things down. I think you have to wait a few months before you try to escape a little bit from something powerful.
  • Laurent Boyer: You work almost like a sponge. You need to look at what’s going on around…
  • Mylène Farmer: The metaphor is pretty. Thank you ! (laughs)
  • Laurent Boyer: Isn’t it! You’re welcome ! I could have chosen something else, it was an allegory, there is a lot of it in your clips … It works like a sponge, looking at what is going on around and retracing a story. On the other hand, there is one thing which is surprising, it is that in most of your titles, quite frequently, it comes up often, like a leitmotif, there is death which is there and which is present. Will it also be part of the future album, The Other … ?
  • Mylène Farmer: I would say it’s something that is inherent in my life. This is something that troubles me. Does it excite me? I don’t really know. Yes, it is something that will be present. But, it is short of words.
  • Laurent Boyer: That is definitely part of your character. Because when we talk about you, we almost want to talk about chiaroscuro. We get the impression that there are permanent contradictions and paradoxes. There is the savage on one side, then the shy one on the other suddenly …
  • Mylène Farmer: They exist. I think you can’t manufacture for seven years. I am like that and I can have my moments of euphoria, like everyone else, of course. But I think I am deeply shy.
  • Laurent Boyer: So, we just saw a series of clips, from  Sans Logique to  Sans contrefaçon , or even  Tristana ,  Libertine. There is one that we have not seen, on purpose, that we are going to discover now, it is  Ansi Soit Je … where there, indeed, there is, it is perhaps this paradox side , something else happened in the making of this clip. Already in the use of black and white and sepia. Besides, it was not a stage with great spectacle. We weren’t, like here in Budapest, in an abandoned factory, with snow, passing trains, it’s true … and passing again. And I think it’s one of your favorite clips, it’s one of the images of you,   So be I … , that you like.
  • Mylène Farmer: I don’t know if it’s an image that I like. There, I really appreciate the sobriety of this clip. For the theme, the subject and the universe, in any case the atmosphere. I think it was important to be very, very sober, and above all not to be explanatory, not to be narrative either. So having pictures and suggesting things was more important.
  • Laurent Boyer: Ansi Soit Je… . Clip broadcast. So one of the clips that Mylène prefers. Now let’s go into detail: if we are here in Budapest, therefore, it is to show you, this is what you are going to discover, images of this video shoot. This is the first time, I said earlier, and we thank you, with Laurent Boutonnat and Thierry Suc, for having accepted us on the set of a clip, because you are a bit stingy with images of precisely this work that you do as a team on the set of a video clip, like right now here in Hungary.
  • Mylène Farmer: I don’t know if we are stingy, but it’s quite difficult for another team to intervene because, sometimes, a shoot, especially like this one, it’s a big machinery, so if there is disturbances that can disturb the director and everyone. And it’s true that we have a concern to keep things secret, but because, me, I’m probably like children: I still like surprises. So, I like that element of surprise when we have a new music video or new songs. That’s why I do very little to listen to the album before it comes out. It’s a way of preserving it. Images of the shooting of the clip Désenchantée with the indication: “Budapest – February 22, 1991”
  • Laurent Boyer: Regarding this track, you talk about generation, chaos, intensity … I had the opportunity to listen to the track once. It’s almost a topical headline. It is once again the discomfort. But what is the discomfort? From a generation? There is the word “generation” in it. Which generation?
  • Mylène Farmer: There, I am a little sorry because, even if the word “generation” ‘exists, I speak mainly of myself. I do not want to imply in any way, even if I use the word “generation” once again, I am only implying myself. Now, it’s true that if a few people think like me, I would say so much the better! But, once again, it’s only my opinion. I do not want to make a claim in any way. And me, situating myself rather out of time and out of History, I prefer that one only considers me as such.
  • Laurent Boyer: But, that is to say, why do you place yourself out of everything? Because nothing touches you? I’m surprised…
  • Mylène Farmer: It has nothing to do with it. We can situate ourselves and place ourselves outside of everything. It is a way of protecting oneself, it is above all a way of escaping from the surrounding world. Now I do the same thing you do all day, probably. But in any case, I would use the current news. Not because it doesn’t affect me, it would be cruel to say that, but because it’s not my point to talk about it. Images of the filming of the clip  Désenchantée
  • Laurent Boyer: Tell me a little bit about Désenchantée. You came here, to Budapest, as you said earlier, for filming reasons. I know that Laurent and you like the snow, you like the mood of this place, Hungary. But in the clip, we see young children – there are a hundred Hungarian extras – with very particular heads, made up, masked, dressed perhaps a bit like you …
  • Mylène Farmer: Exactly. Even even dirtier! (laughs)
  • Laurent Boyer: Even dirtier! Quite minimalist in the outfit. So why this choice? Where was the inspiration for this choice?
  • Mylène Farmer: There, I admit that it was probably born from a common love, of Laurent and myself, for all that is Dickens, which is Oliver Twist. We both really like David Lean who had directed, I think it was one of his first feature films, which was Oliver Twist , which was absolutely magnificent. And it is above all this approach to storytelling that is permanent.
  • Laurent Boyer: Yes, it remains a little bit in what we have already seen at home …
  • Mylène Farmer: Yes
  • Laurent Boyer: … in the stories that had before, in the scenarios that had been developed. It’s still a tale and a story. You like stories. You like the ends, too, which are not necessarily beautiful. It’s what you say about cinema.
  • Mylène Farmer: Yes. I like endings, I think I even prefer tragic endings.
  • Laurent Boyer: You make a lot of criticisms of French cinema on this subject.
  • Mylène Farmer: I do it in my private life. And in private, very often, I … No, I will not give great speeches on French cinema. I actually have the impression that French cinema, in any case French cinema today, affects me less than any other cinema: Russian cinema, sometimes American cinema, English cinema. Now there are always …
  • Laurent Boyer: Tarkovsky, for example, in Russian cinema?
  • Mylène Farmer: She’s someone I really like. I really like Bergman. I really like David Lean who unfortunately stopped touring, I think. I really like David Lynch. But I also like … There are a lot of them.
  • Laurent Boyer: We almost have the impression, in Désenchantée , in the clip, that it is a prison universe but, in particular …
  • Mylène Farmer: We tried in any case to have something timeless. This is also why the choice of these costumes, because we cannot quite locate the time. So it is indeed in a prison environment. There is an authority around these children. What can we say? And, that these children have nothing to lose, so they have as a solution the revolt and that is what will happen in the clip.
  • Laurent Boyer: I remember that at one time, well, I read that somewhere, without necessarily talking about your story, that when you were little, you spent a lot of time in psychiatric hospitals. Did you do this for a little while?
  • Mylène Farmer: They weren’t psychiatric hospitals. It was also the Garches hospital which has many disabled children, both motor and mental indeed. I … in any case I have a memory, I had the impression of taking care of it a lot. I went there very often on Sundays. I was quite small.
  • Laurent Boyer: But that’s not a little girl’s thing, that! It’s still quite original, as an attitude …
  • Mylène Farmer: I don’t know very well. I probably needed to go to someone, to others anyway. But, it is overwhelming, it is fascinating. Maybe I’ll go back someday. Perhaps.
  • Laurent Boyer: It has nothing to do with that, for example the supervision, the whole structure around the children in the clip?
  • Mylène Farmer: Perhaps unconsciously. Here I admit that I … (laughs)
  • Laurent Boyer: Is there no impact?
  • Mylène Farmer: Indeed, there are actors, there are young children, who are disabled. And we realized … there is an absolutely magnificent anecdote: that a disabled child, who is therefore on the set, and who adapted to the shoot in four days. And his educator told us that in four days he had made maybe six months progress. So that’s a nice reward.
  • Laurent Boyer: It’s part of the rewards. That, I was going to say it is a humanist side? Mylène’s humanity which is always present …
  • Mylène Farmer: No … (looking down)
  • Laurent Boyer: How do you live with all people, how do you interact with all these young Hungarians that we see there?
  • Mylène Farmer: It’s only an exchange of glances since we don’t have the same language and the interpreters are not always there to translate. They are looks and then … They are mostly people … All these extras do not play. They are very, very righteous. Finally, they play, but by no means overplay, and that’s what is fascinating. They have spontaneity. And we have the impression that they were born in these costumes, in that time. And that, I admit that it is a plus for the shooting. Laurent Boyer: I think it’s a bias. I had the opportunity to chat with what is called a casting producer here. He told me that, in the choice of people, there were few actors, apart from the matonne …
  • Mylène Farmer: Absolutely, yes.
  • Laurent Boyer: There are delinquents, there are young children from school …
  • Mylène Farmer: There is everything, yes. They are street kids. (laughs)
  • Laurent Boyer: With their reactions. That is to say when we live in Budapest, when we have lived what we have lived, with the history we have had, in a city which, after all, when we walk a little here, we feel that it is not necessarily pleasant, at the level of the mood and the soul …
  • Mylène Farmer: It is in any case inhabited.
  • Laurent Boyer: That’s it. There is a soul, but we feel that there is a pressure …
  • Mylène Farmer: There is a hardness and there is a … yes there is a real hardness.
  • Laurent Boutonnat: We have a scene with all the extras, with Mylène. (…) It is a connection to be made on this small mound. We are behind, with the camera. We are going to burn tires to have a big black smoke, to be connected with the factory of yesterday where there was the fire, etc. So they’re supposed to escape from the factory and they’re going to come down from that little hill to run across this huge plain, towards nothing.
  • Laurent Boyer: This will be the last shot of the clip?
  • Laurent Boutonnat: It is the beginning of the last plans, in fact. This is the first shot where they escape from this prison / factory like that to go to the plain. And then, we have several shots to make of their running faces …
  • Laurent Boyer: It was a pleasure for you to have a hundred extras, young Hungarians?
  • Laurent Boutonnat: Oh yes, yes, yes. It’s great!
  • Laurent Boyer: Not too difficult to manage?
  • Laurent Boutonnat: No. Because there is a very solid team which keeps everyone there well. They also have extraordinary faces. There’s a great thing here, is that they’re … They’re playing well. It’s not even playing … they like doing that. So it’s almost natural.
  • Laurent. Boyer: Maybe it’s better than actors? They don’t overplay!
  • Laurent Boutonnat: Oh yes! It’s impossible, the actors! It’s impossible! But, there is something natural about them. Since they have never done that in their life, they have a kind of awkwardness. But, formidable. You have the impression that they have been doing this their whole life, that they are great professionals.
  • Laurent Boyer: You wanted to shoot here, it’s called the puska …
  • Laurent. Boutonnat: The puszta.
  • Laurent Boyer: It’s something huge. It’s the Hungarian plain, in fact. Heaven meets with earth.
  • Laurent. Boutonnat: Absolutely. Hungary is a flat country where there are only plains. And all of central Hungary, that’s it for hundreds and hundreds of kilometers with nothing. And it’s very impressive, especially with the snow. We have the impression that the sky and the earth meet and that there is nothing. It is nothingness. And, it is beautiful.
  • Laurent Boyer: (…) In a rather particular place, which is a filming location, the one that Mylène Farmer and Laurent Boutonnat chose for this clip, Désenchantée , which we will discover in a few moments since you will discover it for the first time on M6, almost exclusively, because it has not happened much before. We talked a little bit about this clip, about the way you worked. So you, it’s your permanent outfit, let’s say the Dickens outfit, that’s a little bit like that. And then, a make-up job. You don’t hesitate to make up yourself. There, we see that you actually have the small trace of blood. You have suffered a lot in your life …
  • Mylène Farmer: I hurt myself very badly here (Mylène indicates her cracked lip). It is because I received stones. So, fatally, I cut myself with a stone.
  • Laurent Boyer: There is something else that you cut, that everyone will have noticed. I didn’t jump on it right away … (reference to the fact that Mylène recently cut her hair, editor’s note)
  • Mylène Farmer: It was elegant! (laughs)
  • Laurent Boyer: Thank you!
  • Mylène Farmer: They are cut!
  • Laurent Boyer: Was it a choice? Me, I find that it goes more and more in your side … why I was going to say: androgynous?
  • Mylène Farmer: Come on!
  • Laurent Boyer: Is there a word we could use? Maybe “different”? This masculine side. Yes, that masculine side. We don’t really know what. This slightly masculine and feminine image. The fact of cutting the hair, you sacrifice to the myth. Finally, to the myth: not the hair! (laughs) But the cut, we will say: “Mylène Farmer, definitely, is more and more masculine” ..
  • Mylène Farmer: Oh no, I don’t think so, no. In any case, this is not my wish. And I think you can have very short hair and still be very feminine.
  • Laurent Boyer: An example: Katharine Hepburn.
  • Mylène Farmer: Audrey Hepburn! Katharine Hepburn had long hair instead. But she had a very, very feminine way of dressing, but always with pants. Very sober. What can I tell you about the hairstyle? Nothing! (laughs)
  • Laurent Boyer: If not that you wanted to do it and that it makes talk, what!
  • Mylène Farmer: You are the one saying that it causes people to talk! I just wanted to change my mind. It was important to me. Besides, it’s easier to style your hair when you have short hair!
  • Laurent Boyer: I like it when we talk about practice like that. It’s good! Mylène Farmer, Disenchanted, the clip, we watch it right away.
  • Désenchantée in short version.
  • Laurent Boyer: We talked earlier about Hungarian children, we talked about it a lot, about this choice, about the place of course. So there is a fairly large infrastructure and team. There are a lot of people on this shoot …
  • Mylène Farmer: I think there are about a hundred and twenty people, but there are mostly twelve people, “mostly” because they come from Paris. there are twelve people in the technical team.
  • Laurent Boyer: French people, then?
  • Mylène Farmer: French people, absolutely.
  • Laurent Boyer: Who are you used to working with?
  • Mylène Farmer: Yes. Jean-Pierre Sauvaire, who is cinematographer. Carine Sarfati who is in the costumes. And many others and I apologize for not citing them.
  • Laurent Boyer: It’s a team of friends, that. These are people you work with frequently. We have the impression that it’s almost a family …
  • Mylène Farmer: Oh yes! They are people of great human and professional quality. It is true that it is a pleasure, each time, to bring them together again.
  • Laurent Boyer: We don’t see any horses in this clip!
  • Mylène Farmer: No.
  • Laurent Boyer: There’s no …
  • Mylène Farmer: The horse syndrome! (laughs) No, it doesn’t! No no.
  • Laurent Boyer: There’s no black frame, and yet that’s part of your story, all the same …
  • Mylène Farmer: That’s the press that went a little too far. I did a lot of horseback riding in my youth. I actually did a stint, but very brief, in Saumur, but it was to consider taking the monitor. So it was very, very brief. The press took hold of that and made her a great riding instructor. But, I am not there yet.
  • Laurent Boyer: It was not part of your aspirations. Actually, don’t sing either, really?
  • Mylène Farmer: No, it was not a vocation. But it’s something … It’s probably a gift of life given to me.
  • Laurent Boyer: Is it a chance that passes at some point? Should we take this chance? When you met Laurent on the first 45, was there a little voice that spoke to you?
  • Mylène Farmer: It is the other, precisely! (smile)
  • Laurent Boyer: Is it the other?
  • Mylène Farmer: Yes. It’s a little voice. It is a chance and an evidence at the same time. That is to say, when I met Laurent … Both of us were born from the same thing. So, this is something very strong and very beautiful, at least for my life.
  • Laurent Boyer: Something else that was probably very good, we were talking about it earlier, about your emotions, your fear, what motivates you, what makes you move forward: that was the stage. It was the Palais des Sports, it was Bercy, subsequently. I saw you in both cases. I saw you cry on stage, surely cry of emotion, of intensity. Is this the advent for you? It was a long journey, from 84 to 89, at this scene. Does it represent the advent? And do you miss it already, the absence of a stage for about a year? It’s been a year since we heard from Mylène.
  • Mylène Farmer: I don’t know if we can speak of a lack. It is very disturbing, the scene. In any case, the way I approached the scene and the way I felt it is something very disturbing. So it’s something that marks a lot. Again, it’s difficult for me to talk about it because it’s very rich. It’s … I don’t know. It is a great emotion. Now, I could say a lot, a lot of other things, but it’s tricky for me because I …
  • Laurent Boyer: Is it a past emotion or is it an emotion which implies the fact of being in desire precisely for this emotion?
  • Mylène Farmer: It’s an emotion, no, which is now part of my memories. But, since it’s today, I can take it from the past, so it’s still … How do you put it? It is a plague. In any case, in my memory, it is a sore because it is something that I no longer have, currently. Which doesn’t mean I want to go back right away either. I want to experience very, very strong things in my life. So, I know that I will not be able to renew them daily. So I know my first time on stage, it was something incredible for my life. And it’s true that … would I feel the same things if I went back on stage a second time? This is the question, in fact, that I ask myself.
  • Laurent Boyer: What can inspire you with such a strong desire, where you say to yourself: “Hey, if I did that, I might have an even stronger emotion”? Is there the cinema, probably? We also offered you roles in the cinema. Garcia offered you a role, it seems to me …
  • Mylène Farmer: You surprise me because I never talked about it.
  • Laurent Boyer: Oh yes? It’s echoes, then. Noises … But, is it true or not?
  • Mylène Farmer: No … but that’s to say that I never talked about it. It is true that I met Nicole Garcia. I really wanted to meet her. I had this stage project, so I had to choose and it was obvious to me. It wasn’t even a choice anymore. But I still wanted to meet her. I like this woman. I had a few proposals. I wait. I am waiting because these are not the right ones yet. And that I will put, I would say, the same excessiveness and the same passion to tackle this theme. But it’s … I’m waiting. Here.
  • Laurent Boyer: Maybe, then. Who knows ? We were talking about emotion just now. The emotion, the intensity. It’s taken from a double album that came out. It is also the live video cassette of the Palais Omnisports de Paris Bercy. (the concert was actually filmed in Brussels, editor’s note) I
  • Mylène Farmer on stage. Broadcast of the clip  Plus Grandir (live).
  • Laurent Boyer:  Plus Grandir, just now. This is the stage, it is Mylène Farmer on stage. Mylène spoke to us about it a moment ago, with this clear and intense emotion that this scene was. About your success, because you are still successful, you are … I don’t know if we can say star or star …
  • Mylène Farmer: I don’t know. It’s not my problem.
  • Laurent Boyer: On the other hand, there is a reflection that you gave to yourself once in an interview, you yourself asked the question, and you answered it, and I found that quite interesting. You say: “If success dies, I would be in immeasurable and almost unbearable loneliness”. So that too is the paradox of the character since you just told me: “Well, I don’t care, it’s not my problem. I’m a star, I’m a star, it’s not … “.
  • Mylène Farmer: No, my problem is not the word we will use to define. But my real problem is to exist, and therefore to have the gaze of others on me, to have someone who listens to me. And that is … It’s true! Why am I doing this job?
  • Laurent Boyer: It’s the desire, the love of others. Probably the desire to also give …
  • Mylène Farmer: Of course. This is … Yes, of course. Yes.
  • Laurent Boyer: Do you project a little, we were talking about cinema earlier, we were talking about emotion, do you manage to project into the future from time to time and say to yourself: “Is- will I continue to do that? ” ? That is to say an album every three years – this is the third album, there, so a fairly long writing time -, a scene … I wonder if you are capable of falling into a routine . That is, all three -four release an album, do a scene, release an album, do a scene and music videos.
  • Mylène Farmer: No, because from the next alum I could go back on stage. No, I cannot project myself into the future. When I think about the future I see failure so it’s something that… I’d rather not think about it. And I think about it anyway! But it’s not a great peace in any case.
  • Laurent Boyer: We have the impression that there is a permanent evil in living at Mylène Farmer…
  • Mylène Farmer: Oh, I wouldn’t want to emanate just that, but I … What can I say? Yes, let’s call it the pain of living. Let’s call it incompatibility with life, anyway.
  • Laurent Boyer: With the others, sometimes?
  • Mylène Farmer: With the others, but we are all the same.
  • Laurent Boyer: Hell is other people!
  • Mylène Farmer: Yes. Well done! (laughs)
  • Laurent Boyer: Please. Don’t worry, we have a truck coming up to us! (in the background we see a truck heading towards them) We are really at the location of this clip! There is even machine gun fire from time to time. What is the apocalypse! There you go, thank you, that’s nice. Would not change a thing. Stay where you are. We settle down and continue in the same spirit. Mylène, we’re going to watch Disenchanted another time … Ah, I still wanted to say something. The album has not yet been released, it will be released shortly. On the other hand, there is one thing that you did that we weren’t necessarily expecting, it’s a duet with someone, on this album, with Jean-Louis Murat. So there too, there is a rather special encounter.
  • Mylène Farmer: That, I will keep it mysterious. I believe it was born out of a common desire anyway. There you go … We met and we decided to sing this song together. And I am very happy to have met Jean-Louis. I really like his voice, first of all, and I especially like his way of writing. And he’s someone who really has a universe. This is for me – I don’t know if he will appreciate the compliment, it is one for me – he is a poet of today. He is someone who touches me a lot.
  • Laurent Boyer: Mylène Farmer, clip Désenchantée
  • Laurent Boyer: Désenchantée, Mylène Farmer. We’re on the set of this clip. The album comes out on April 8, I remind you. This album is called The other … . The 45 rpm, you know it because it is heard on the radio, already, since March 18th. Mylène, after this shoot, after Budapest, what will it be? Is it going to be promotion? A few TVs … Very few, as far as I know.
  • Mylène Farmer: Very few TVs, yes.
  • Laurent Boyer: Thank you for giving us this interview, especially here.
  • Mylène Farmer: Thank you for coming.
  • Laurent Boyer: Please. We thank each other again! And then afterwards, maybe it’ll be a little rest, take care of the animals. Do you still have animals?
  • Mylène Farmer: I still have my two monkeys.
  • Laurent Boyer: Yes, that’s it.
  • Mylène Farmer: And as for rest, no. Definitely, I hate rest and idleness.
  • Laurent Boyer: Are you bored? Does rest bother you?
  • Mylène Farmer: Yes. I am bored. It worries me a lot. A lot!
  • Laurent Boyer: Mylène, thank you for being with us. And then, we’ll probably meet again soon. We do not know. Who knows?
  • Mylène Farmer: Okay.
  • Laurent Boyer: Thank you. It was here, in Budapest, and she will continue filming the clip. And it’s getting colder and colder, I assure you. (Mylène laughs) Ah! You told us about something that you were passionate about, it seems to me. There, you brought us to Budapest, I know that your dream would be to report on the sea ice.
  • Mylène Farmer: Yes, absolutely.
  • Laurent Boyer: Is it still true?
  • Mylène Farmer: It’s still true.
  • Laurent Boyer: I don’t know if I’ll go interview you on the ice floe! (laughs) It’s not getting better! Thanks Mylène.
  • Mylène Farmer: Thank you.
  • Laurent Boyer: See you soon.
  • Mylène Farmer: Goodbye.

I like a slight play of words in the use of the “Désenchantée” as opposed to the “Enchantée” when you are “please to meet someone”.


version and remixes: https://www.mylene.net/mylene/reprises_desenchantee.php

recent crowd celebration: https://www.facebook.com/watch/?v=765721767432100


Dereck Reacts (twice!) for the clip and the live 2009 performance. Don’t you just love his innocence/ ignorance? 😂😀💥

my poetry inspired by the song

who is your L’autre?
Who is your savior,
your shelter,
the Temple
of that Soul of yours?
Who is your Soul-mate,
your Soul-lover,
your Soul-friend,
the Soul-home
where you belong –
the planet-
you are from?
How much it hurts for you to feel alone?
No matter where you go and who you’re with?
There is no L’Autre and you’re doomed forever miss
that day,

that smile, and that familiar face…
There will be moment you will not erase
when your starlight meet
And L’autre of Yours will never feel complete
Until your orbits crossed
until the Spark is lit
by Fateful meeting of the Souls
to stay entwined forever more…


lyrics with translation

Nager dans les eaux troubles
Des lendemains
Attendre ici la fin
Flotter dans l'air trop lourd
Du presque rien
À qui tendre la main

Si je dois tomber de haut
Que ma chute soit lente
Je n'ai trouvé de repos
Que dans l'indifférence
Pourtant, je voudrais retrouver l'innocence
Mais rien n'a de sens, et rien ne va

Tout est chaos
À côté
Tous mes idéaux: des mots
Je cherche une âme, qui
Pourra m'aider
Je suis
D'une génération désenchantée

Qui pourrait m'empêcher
De tout entendre
Quand la raison s'effondre
À quel saint se vouer
Qui peut prétendre
Nous bercer dans son ventre

Si la mort est un mystère
La vie n'a rien de tendre
Si le ciel a un enfer
Le ciel peut bien m'attendre
Dis moi
Dans ces vents contraires comment s'y prendre
Plus rien n'a de sens, plus…
Swimming in troubled waters
of Tomorrow
Wait here for the end
Float in the air too heavy
Almost nothing
To whom to reach out

If I have to fall from above
May my fall be slow
I have found no rest
That in indifference
Yet I would like to find innocence
But nothing makes sense, and nothing works

All is chaos
All my ideals: words
Damaged ...
I'm looking for a soul, who
Can help me
I am
Of a disenchanted generation

Who could stop me
To hear everything
When reason collapses
What saint to devote to
Who can claim
Cradle us in her belly

If death is a mystery
There is nothing tender about life
If heaven has hell
Heaven may well be waiting for me
Tell me
In these headwinds how to go about it
Nothing makes sense anymore, more ...

The page last edited July 8, 2022

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