Jean-Pierre Clech

Seduced by the stage, production designer Jean-Pierre Clech trained at L'École Nationale Supérieure des Arts et Techniques du Théâtre and designed sets and costumes for several productions before moving into television in 1972 with the long-running drama showcase "Au Théâtre ce soir." He only made his cinema bow in 1988, however, with the older woman drama "Bille en t'te." But, having worked with American director Samuel Fuller on his swan song TV movie "The Madonna and the Dragon," Clech forged partnerships with Christine Lipinska on the comedy "Papa est parti, maman aussi" and the love story "Le Cahier volé"; Gérard Mordillat on the 1940s biopic "My Life and Times with Antonin Artaud" and the dark romantic drama "Paddy"; and Claude Duty on the Marina Foïs comedies "Hypnotised and Hysterical (Hairstylist Wanted)" and "Bed and Breakfast." However, his most enduring collaboration has been with Jean-Pierre Améris. In 1993, Clech recreated the Vichy era for the tale of a teacher's war exploits in "Le Bateau de Mariage" before providing the contemporary settings for a failed actor's murder confession in "Les Aveux de l'innocent," a teenage girl's fall from grace in "Bad Company," and a dying man's final days in "C'est la vie." The 1990s also saw Clech team with Miguel Courtois and Pierre Boutron on several teleplays. More recently, he designed the Yves Fajnberg comedies "Vive la vie" and "Madame Irma," the Marseille murder drama "The Over-Eater" and the feminist farce "48 Heures par jour."