How would you describe the main challenge of creating believable digital environments for L’Inconnu de la Grande Arche?

The biggest challenge was really making the sets as realistic as possible and grounding them in precise references. It’s not just about placing objects; you have to pay attention to every small detail—lighting, textures, everything that contributes to the credibility of the image. Even elements we invent need to feel real, as if they truly existed. So we spend a lot of time observing the real world to make sure nothing is overlooked. In the end, the goal is for the viewer to fully believe in the shot and never be distracted by anything that feels off.

Which scene or construction stage was the most complex to recreate, and why?

Perhaps the shot where the main character meets Ieoh Ming Pei, the architect of the Louvre Pyramid. It was a very long shot, about 1,300 frames. Jessica and I decided early on that it would be a bad idea to handle it entirely in 3D. Instead, we created a large projection, gradually adding details and events throughout the long panoramic shot, where the two actors move across the slab marking the future location of the glass pyramid.

What was the artistic goal: to stick to realism like a documentary, recreate an archival look, or offer a more cinematic vision?

For this project, we really wanted to pursue realism, almost like a documentary. We didn’t aim to beautify the image, give it a retro archival look, or dramatize it like a feature film. The idea was to capture an atmosphere faithful to reality as it might have been experienced at the time. We focused on the small details that make the scenes authentic, so everything feels right and the experience seems real from start to finish.

Can you explain how you worked on L’Inconnu de la Grande Arche and what your workflow looked like?

We started by studying a lot of archival material with Lise to capture the 1980s atmosphere as accurately as possible. Then we discussed with Jessica the methods to use depending on the shots we needed to create. Some shots were built with a high level of detail from the beginning because that was the best way to present them, while others were rough at first, and we gradually added details as we went.

What makes a matte painting work in this film: detail, lighting, scale, consistency with the actors?

Sometimes, it comes down to very little. Everything you integrate needs to respect perspective, the direction of light, and the resolution of the final composite. You also need to view the shot in context, considering the previous and next shots, to make sure it fits naturally. We analyze how the cinematographer lit the scene, the look of the filmed sets, and the structure of the unaltered shots in terms of framing, color, and light. Even then, a shot can still feel off, with something drawing the eye. In that case, we revisit the sequence with our VFX integrated and test different variations until the blend becomes completely invisible.

Is there a shot or sequence you’re particularly proud of, and why?

There are several, but one that stands out is the shot handled by Alexia Ferry, showing the construction site from a high vantage point during President Mitterrand’s visit. The original footage only showed a small part of the set, in the middle of a potato field. She used the assets provided by Landry De Oliveira for the elephant feet and formwork and created a huge number of 2D and 3D assets to give the site a massive scale. She then animated cranes, trucks, and other machinery. The shot turned out beautifully.

What, in your view, makes these environments unique compared to other films?

It’s the decision to remain fully committed to realism, unlike many films that stylize or embellish their sets. We avoided flashy effects or anything that would feel overly cinematic. Everything is designed to be true and believable, without exaggeration. This creates a very natural atmosphere that lets the viewer fully immerse themselves. That’s what sets it apart from other films where aesthetics take precedence over realism.

Is there anything else you’d like to share?

Everyone was motivated and attentive, whether it was proposing ideas or solving shot-specific problems, and everyone brought their personal touch. Honestly, it’s the kind of experience that makes you want to do it all over again. I think that’s also what helped make the project so successful.

Final word?

First, a huge thank you to Lise Fischer for trusting us. Thanks also to the entire MPC Environment team for their dedication and great spirits, especially Alexia Ferry, Thomas Houdayer, Alicia Mendes, Céline Bailleul, and Diwan Bertrand. And above all, a massive thank you to Jessica Ferry, who supervised the creation of the environment shots. Congratulations to her and the whole team.