(Q - Simon: I took the liberty of sending you Michel, the link to the article in question on my blog, in 3 pages on the symbolic construction of hunting as I perceived it. But,
it's very old, it dates from the 2000s.)
MB: Okay, you know, I'll tell you something. If I can make a comparison between Max, Valentin and me. I would say that, personally, for several years, I lived in Monaco. I've rubbed shoulders with multi-billionaires galore, famous people, famous people and whatever you want. And I found myself, it's interesting that, I found myself appearing, appearing in certain social evenings, obviously, with Césars, Armans, Folons, well whatever you want at the time... Where people addressed me, calling me “master”. Because I was a painter and because, from the moment I was a painter when I was in Monaco, I was received by the Monegasque billionaires, they had to call me master. And I put that in parallel with what happened to Max Valentin.
Max Valentin who was an ordinary communicator who had his little office, his little office, in short... He sold mail order sales and recommendations for businesses, And who, at one point, found himself in the hunt for the Golden Owl, requested by the media, and as it was able to do it for me during the Monegasque era which I have just spoken to you about, as it was able to do it for him when it happened around the Golden Owl, it went to his head. You know when journalists call you, all of you who are listening to me, I don't know if journalists from time to time telephone you, call you, ask you for information. interviews, but when it happens to you, at a given moment, it's quite easy to get a big head, to say to yourself, Wow, I'm someone important, I'm being called, interviewed etc... This is really what happened to Max Valentin.
And I drew the parallel with Monaco because I experienced it and it's true that it's troubling when we're in that context, we quickly get drunk, we can quickly get upset head and say, Wow, I'm someone important.
And that’s really what happened with Max Valentin.
And I have extreme respect, ultimately for Régis Hauser, I continue to say, I maintain and I will continue to say that I did not know him in private, so I forbid myself from talking about it in private. as a man.
I only knew the virtual character that he created, so this famous Max Valentin, and this one, I consider that, at some point, this character went to his head. He lost his bearings over that.
He stopped responding, considering things, moving in the context of hunting with basic common sense. He became a star somewhere. Someone whose face we weren't supposed to see, but who everyone wanted to interview. He defeated, he questioned the whole of France with its enigmas etc... We remember that time.
And it is this character who, despite himself, I really think, despite himself, gave the story of the owl, and owl hunting, the dimension that it has today. So we are faced with this today. This is what I think.
MB: Okay, you know, I'll tell you something. If I can make a comparison between Max, Valentin and me. I would say that, personally, for several years, I lived in Monaco. I've rubbed shoulders with multi-billionaires galore, famous people, famous people and whatever you want. And I found myself, it's interesting that, I found myself appearing, appearing in certain social evenings, obviously, with Césars, Armans, Folons, well whatever you want at the time... Where people addressed me, calling me “master”. Because I was a painter and because, from the moment I was a painter when I was in Monaco, I was received by the Monegasque billionaires, they had to call me master. And I put that in parallel with what happened to Max Valentin.
Max Valentin who was an ordinary communicator who had his little office, his little office, in short... He sold mail order sales and recommendations for businesses, And who, at one point, found himself in the hunt for the Golden Owl, requested by the media, and as it was able to do it for me during the Monegasque era which I have just spoken to you about, as it was able to do it for him when it happened around the Golden Owl, it went to his head. You know when journalists call you, all of you who are listening to me, I don't know if journalists from time to time telephone you, call you, ask you for information. interviews, but when it happens to you, at a given moment, it's quite easy to get a big head, to say to yourself, Wow, I'm someone important, I'm being called, interviewed etc... This is really what happened to Max Valentin.
And I drew the parallel with Monaco because I experienced it and it's true that it's troubling when we're in that context, we quickly get drunk, we can quickly get upset head and say, Wow, I'm someone important.
And that’s really what happened with Max Valentin.
And I have extreme respect, ultimately for Régis Hauser, I continue to say, I maintain and I will continue to say that I did not know him in private, so I forbid myself from talking about it in private. as a man.
I only knew the virtual character that he created, so this famous Max Valentin, and this one, I consider that, at some point, this character went to his head. He lost his bearings over that.
He stopped responding, considering things, moving in the context of hunting with basic common sense. He became a star somewhere. Someone whose face we weren't supposed to see, but who everyone wanted to interview. He defeated, he questioned the whole of France with its enigmas etc... We remember that time.
And it is this character who, despite himself, I really think, despite himself, gave the story of the owl, and owl hunting, the dimension that it has today. So we are faced with this today. This is what I think.