In 200,000 years on Earth, humanity has upset the balance of the planet,
established by nearly four billion years of evolution. The price to pay is high, but
it's too late to be a pessimist: humanity has barely ten years to reverse the trend,
become aware of the full extent of its spoliation of the Earth's riches and change
its patterns of consumption.
By bringing us unique footage from over fifty countries, all seen from the air, by
sharing with us his wonder and his concern, with this film Yann Arthus-Bertrand
lays a foundation stone for the edifice that, together, we must rebuild.
AN EXCEPTIONAL EVENT FOR EXCEPTIONAL TIMES
More than a movie, HOME will be a major event all over the globe: for the first
time ever, a film will be released on the same day in over 50 countries.
June 5th 2009, World Environment Day has been chosen as the highly symbolic
date for this simultaneous, and mostly free of charge, release on every format:
movie theatres, TV, DVD and Internet. The aim of director Yann Arthus-Bertrand,
distributor Luc Besson and François-Henri Pinault, chairman and CEO of PPR, the
film's official sponsor, is to reach the widest possible audience, and to convince us
all of our individual and collective responsibility towards the planet.
This unprecedented release will coincide with a certain number of one-off events,
uploading the movie onto internet at (specify time) on the morning of June
a series of debates and meetings with charity organizations in French movie
theaters all day on June 5th, at a vastly reduced price of admission;
free, digital screening of the movie beneath the Eiffel Tower in Paris at 10
primetime broadcast of the TV version of the movie on France 2, followed by
specially commissioned programs;
a photo exhibition to coincide with the release of the DVD at a reduced price
exclusively at FNAC video and book stores.
Denis Carot, Elzévir Films
"If we can improve the images of the world, perhaps we can improve the world"
Wim Wenders' words have perhaps never been more relevant to a movie than in the
case of Home.
Following directly on from Al Gore's An Inconvenient Truth, Home is, of course, a
film with a message that sets out to shift people's perceptions, make us aware of
the tectonic movements at work and incite us to act. Although there is a general
trend in our societies towards an awareness of ecological issues, concrete action is
still too little, too slow—which constitutes in some ways the creed of the movie: It's
too late to be a pessimist.
But Home is more than a documentary with a message, it's a magnificent movie in
its own right. Every breathtaking shot shows the Earth—our Earth—as we have never
seen it before. Every image seems to be saying, "Look how beautiful the Earth is,
look at what we're destroying, and above all look at all these wonders that we can
When I started working on the project with Yann, I was convinced that the idea of
shooting a movie entirely from up in the sky, without interviews or archive footage,
was the right one, but I couldn't pinpoint why. One conversation enlightened me:
"From the sky, there's less need for explanations." Absolutely! One's vision is more
immediate, intuitive and emotional. That's what sets Home apart from all the
other movies on the environment—which are all equally necessary in this crucial
period for humanity. Home impacts directly on the sensibility of anyone who sees
it, bringing us to awareness, through emotion initially, in order to change the way
we see the world...
It's probably the "less need for explanations" that also enables the film to come
through on its original aim of embracing the major ecological issues that confront
us—and showing how everything on the planet is interconnected—in under two
hours. And as the film was shot without a script, that was quite a challenge.
Besides the content, the movie's specificity lies just as much in the manner of its
distribution. Yann is a generous man, whose deepest desire from the outset was to
share the movie with the whole world, for it to be seen by as many people as
possible on every continent and, therefore, that it should be free!
When he told us of this aim at our first meeting—with my partner Marie de
Masmonteil—I thought that it was simply impossible. His reference point was his
exhibition "The Earth From The Air", which—eight years after it first opened—is still
being shown free of charge around the world and has so far been seen by over 100
million people. But the cost of producing a movie is far removed from that of a
photo exhibition! Moreover, movies can only exist thanks to the revenue that they
generate. How would it be possible, in that context, to show the movie free of
charge except by appealing to very generous donors, which takes time, a lot of
time? But the man is as impatient as he is stubborn and the battle to save the
planet is urgent, an absolute priority... He is also persuasive and inspires trust. So I
committed myself to this adventure, not really sure where we were headed, but
genuinely converted to the cause and absolutely convinced that the film should be
made, even though everything could come to a halt as fast as it had got moving.
The incredibly spontaneous commitment of Luc Besson made the project credible
and viable. It was indispensable for a film studio of international standing to be
involved in the operation from the get-go. It was the commitment of François-Henri
Pinault and every company in the PPR group that enabled us to realize the
unthinkable aim of the film being virtually free all around the world. And it was the
determination and drive of Yann Arthus-Bertrand that brought so much energy and
talent together to win this incredible challenge for the common good, for the good
of our planet and all its inhabitants. It's probably a drop in the ocean compared to
the task that awaits future generations, but I am sincerely convinced that it is our
duty to make our contribution, however large or small. "Give me a place to stand
and I will move the Earth," claimed Archimedes. My only wish today is that Home
will give millions of people on every continent a place to stand.
AN INTERVIEW WITH YANN ARTHUS-BERTRAND
Co-writer and Director
When did you feel the need to make this movie?
When I invited Al Gore to show his film, An Inconvenient Truth, to the French
Parliament, I realized just how much impact a movie could have, even more than a
TV program. I saw how moved the audience was—to tears in some cases—and I said
to myself that a feature film was an excellent way of reaching people. It also
seemed a natural progression from photography and TV programs. It occurred to
me that by taking photographs of the Earth, my subject was humanity, which is the
same logic behind movies.
This is your first feature film and a hugely ambitious project. From production
to shooting and editing, did you encounter many difficulties?
Denis Carot, the producer of Live And Become, was introduced to me by Armand
Amar, a composer and friend. He said yes right away, just like Luc Besson. That's
when the going got tough! When you're given so much money to make such a
unique film—shot entirely on high-definition from a helicopter—it's a massive
responsibility with constant stress. I worked through it on instinct, as always,
learning as I went along. We soon realized that the crew in the helicopter had to
be pared down to the pilot, cameraman and vision engineer. Then we had to
overcome technical issues stemming from the new camera we were using and the
shooting conditions, which were different in every country we flew over. Also, I
made the movie without a script, based on a single page synopsis. I knew the story
I wanted to tell, but the narrative only emerged as we were shooting, especially
the central issue of energy—first the energy of human muscle power, then the
revolution sparked by what we call "pockets of sunlight", oil. In the end, it really is
the movie of a photographer who's not used to restrictions.
What is the film's core message?
The film has a very clear message. We have a greater impact on the Earth than it
can bear. We over-consume and are depleting the Earth's resources. From the air,
it's easy to see the Earth's wounds. So, Home simply sets out our current situation,
while saying that a solution exists. The film's subtitle could be It's Too Late To Be A
Pessimist. We have reached a crossroads; important decisions must be taken to
change our world. Everybody knows about what the film says, but nobody wants to
believe it. So Home adds its weight to the argument of environmental organizations
that we need to revert to a more commonsensical approach and change our
consumer way of life.
This also involves the film being distributed in a quite unprecedented way...
I got the idea of distributing the movie on pretty much every format, for free
whenever possible, after talking to Patrick de Carolis who wanted to buy the film
for France Télévisions. He told me that he couldn't broadcast it until two years
after its theatrical release. I went to see Luc Besson and said we should distribute
Home free of charge. He replied that it was impossible, before being won over by
the idea of a movie being freely accessible all over the world on the same day. It
had never been done before and it was made possible by François-Henri Pinault,
the Chairman and CEO of PPR, who immediately gave his backing to our movie.
What I really want is for the people whose consumption has a direct impact on the
Earth to feel the need to change their way of life after seeing the movie.
How did you envision the voiceover and music?
The text of the voiceover was crucial, of course. I was greatly inspired by the work
of Lester Brown, the famous American environmentalist, and his book State of the
World. I also worked with Isabelle Delannoy, a longtime collaborator of mine. As
for the music, obviously enough, I asked Armand Amar, the best friend in the world
and one of the best French musicians. He also specializes in world music and voices
and I wanted that kind of cultural mix on the soundtrack.
How did you develop the film's rhythm?
I like the slowness of wonderment, so I wanted the movie to take its time.
Technical constraints linked to the helicopter's weight and the camera we were
using led us to shoot a lot of scenes in slow-motion. That's what I like about the
movie—it's contemplative. It's also a film that causes you to listen and stop to
think. People don't like hearing some of the things the movie has to say, but I
wasn't prepared to make any concessions.
Why the title, Home?
It was Luc Besson's idea and it became to obvious choice. It's highly symbolic
because ecology is the study of our relationship to our home environment.
Home is carbon offset. What does that involve?
All the CO2 emissions engendered by making of the film are calculated and offset
by sums of money that are used to provide clean energy to those who don't have
any. For the last ten years, all my work has been carbon offset.
What do you hope audiences will take away with them?
Besides changing their way of life, I'd like people to want to help, to share. There's
a magnificent quote from Théodore Monod: "We've tried everything, except love". I
hope this movie will be synonymous with a lot of love.
AN INTERVIEW WITH LUC BESSON
For what reasons did you commit to Yann Arthus-Bertrand's project?
When I met Yann, I was already wondering what I could do for the environment
through the movies, how I could use thirty years' experience to help the cause. I
was ready, and Yann was the first person to give me the opportunity to show I
cared. So I signed up to the project immediately.
When did you first become aware of environmental issues?
As a kid, in the days before I became a city-dweller. In Greece and Yugoslavia, I
had unfettered access to nature to the extent that I never considered it in those
terms. I lived according to the rhythm of nature and I had a relationship with
plants and animals that I would call normal. Then, I developed an all-exclusive
passion for movies until, after reading so many articles on the subject, I became
aware of the environmental tsunami that was threatening us. At first, like
everybody else, I trusted the folks in government, "who know better". It seemed
obvious they'd do something about it. Trouble is, they don't do enough. Their
efforts are totally out of sync with the scale of the oncoming disaster. While they
take one step forward, the planet takes ten back. True awareness comes when you
realize that we all need to contribute however and whenever we can. Even if it's
only changing your light bulbs, recycling your garbage or being more
environmentally aware about what you buy, that's a massive step. Because if a
billion people make the same effort, it is a thousand times more powerful than any
As the distributor, weren't you scared by Yann Arthus-Bertrand's desire to
release the movie on all formats on the same day, June 5 th, which means it
being free of charge on certain formats?
My approach is that of a concerned citizen, not that of a businessman. The film
being available online and aired by public broadcasting networks didn't bother me
for a moment, because at no stage were we in this to make a profit. I found Yann's
idea of making this wonderful movie available to the broadest possible audience on
June 5th, World Environment Day, deeply symbolic. People often wonder what they
can do on "Days" like that. On June 5th, they can go see Home. And if we can say
that 100, 200 or 500 million people have watched the movie in 24 hours, it will be
a very strong signal to those in power. By demonstrating people's commitment,
we'll force them to act.
It's a very ambitious movie as well as being Yann Arthus-Bertrand's directorial
debut. To what extent did you work with him?
I gave him total freedom when he was shooting. I merely brought my experience to
bear in editing, while maintaining a certain naivety. Having seen very little
footage, I was able to offer an opinion like any guy who'd walked in off the street.
So what did you find particularly powerful in the movie?
There are so many images, but I was particularly struck by the contrasts—seeing
Las Vegas, which was built out of a desert and consumes thousands of liters of
water for pools and golf courses, and then Indian women in saris digging for water
in the arid soil. That's when you realize how crazy the world has become.
How do you respond to the argument that the film was only made through a lot
of environmentally costly air travel?
Today, you can buy an electric car to take your kids to school, but we couldn't
make this movie other than with a helicopter. A more valid comparison is the fact
that in the whole movie, Yann generated less pollution than a single airliner flying
empty from Paris to Los Angeles to pick people up. Let's look at the problem of the
thousands of airplanes that travel empty rather than the supposed issue of a movie
that was made with a helicopter because it couldn't be made otherwise.
What do you hope audiences will bring away with them?
First, I hope that as many people as possible will go to see Home to rack up a real
landmark figure. Then, I hope each person who sees it realizes that they can play
their part. The accumulated efforts, small or large, of thousands of people will
make all the difference.
AN INTERVIEW WITH FRANçOIS-HENRI PINAULT
Chairman and CEO of PPR, official sponsor of Home
Why did you give your backing to this particular project?
Our planet's in bad shape and we all have a duty to act. As a major player and
worldwide business leader, our company must set an example, which is why over
more than ten years now PPR has committed to an ethical and environmental
approach. When I met Luc Besson and Yann Arthus-Bertrand, it didn't take me long
to join their ambitious project—a global project like we are a global company—and
involve PPR. It's time to stop whining and start doing, and Yann is a very dynamic
guy. He's an eco-entrepreneur as well as an artist. The aim of Home is
demonstrated not only by Yann's magnificent images, but also by the distribution of
the film, a huge first in the history of movies and the environment. Thanks to
EuropaCorp, Luc Besson's company, Yann's film will receive worldwide distribution
free of charge on almost every format. It's that dual objective that persuaded me
to join them.
What form does your backing take?
First, it's financial backing—ten million euros over three years—to ensure almost
everyone can see the film free of charge. But above all, it's the support of every
branch and brand of the company and the commitment of our 88,000 co-workers to
the movie's objective of making as many people as possible aware of the state of
our planet. If you add the families and friends of those 88,000 people, that makes
over 300,000 people that PPR can reach directly.
More generally, what's your approach to sustainable development in the
running of your company?
PPR's commitment to environmentally and socially responsible business practice
goes back over ten years to 1996 when we introduced our first ethical charter. In
2005, a business code that defines PPR ethical principles was sent out to all our
staff. All our brands also develop charity operations that correspond to their
sector, through the SolidarCité organization in particular: CFAO in the fight against
AIDS, the FNAC to promote literacy, Conforama with the Secours Populaire, Gucci
with UNICEF and so on. In 2007, we went even further by creating a Social and
Environmental Responsibility division within the company, which reports directly to
me. That's unique for a major public company in France and has enabled us to
develop ambitious programs in the social and environmental sphere. Among its
seven current missions, there is the respect for the environment in relation to mass
transport—which we use a lot—and the reduction of our stores' environmental
footprint. And this year we created a company-wide foundation whose remit
focuses on respect of the dignity and rights of women.
What do you say to those who see a paradox in the environmental impact that is
implicit in a company of your size?
There are always good reasons to do nothing. We have a dual role to play as a
company: improving our own environmental performance and encouraging
awareness in others. We'll be criticized or praised for our support of the movie, but
that's a minor issue. What matters is that the film got made and is seen by as many
people as possible. Luc, Yann and I share the aim of reaching at least 100 million
people across the globe, and more hopefully. I have no regrets about that. If
companies like ours don't commit, there's no hope for us. It's a vital responsibility
for companies and individuals alike. Any criticism will be secondary, I'll see to that.
What do you hope the public's reaction to the film will be?
Greater awareness, due to the strength of Yann's conviction and emotion provoked
by his images. If it's anything like his book The Earth From The Air, public
awareness will be significantly boosted in relation to the state of the planet and
the necessity of action on an individual and collective level. Basically, the idea is
to get people thinking and acting.
217 DAYS OF FILMING... AND LOGISTICS
It took Yann Arthus-Bertrand and his team nearly three years to make a movie that
is the culmination of over thirty years of hard work and total commitment to the
THE BIG IDEA
When he had the idea for this film in 2006, Yann Arthus-Bertrand contacted
producer Denis Carot (Elzévir Films), who immediately believed in the project
despite the apparent folly of the director's idea that the film should be free! It was
crucial, therefore, to break free of the classical model of commercialization and
find a sponsor capable of funding the movie. Similarly, it required an international
distributor capable of allowing the film to go truly global. "When people in the
business heard of the project," recalls Denis Carot, "every distributor called us up,
including representatives of US distribution outfits, which is pretty rare for an
independent production company like ours. But they couldn't get their heads round
the idea of bringing the film out for free. In the end, it was Luc Besson and
EuropaCorp who truly believed in the project and pitched it to PPR as potential
backers." Then, the shooting schedule could be worked out. It eventually added up
to 54 countries, 217 days' shooting and 488 hours of footage!
Taking advantage of his multiple location-scouting journeys for his books
(especially The Earth From The Air, a worldwide bestseller that shifted three
million units) and TV programs (Seen From The Air), Yann Arthus-Bertrand brought
in his regular technical and artistic consultants, including Isabelle Delannoy with
whom he co-wrote the voiceover and Dorothée Martin, a journalist on Seen From
The Air, who became first assistant director. A production manager (Jean de
Trégomain) and location manager (Claude Canaple) were hired to lay down the
amazing schedule that saw three film crews working simultaneously for 21 months
in all four corners of the Earth.
As Dorotée Martin says, "It may seem simple to fly round the world in a chopper,
but in reality each assignment, each shoot, involved a huge amount of work."
THE FILM CREWS
With considerable experience of aerial photography, on Winged Migration in
particular, Jean de Trégomain envisioned each assignment "as a film in its own
right featuring a treasure hunt to find the right contact in each place, the right
helicopter and the right pilot."
Besides the location-scouting trips, most of the organization in Paris was devoted
to providing the crews out in the field with precise schedules and itineraries. In the
helicopter, the crew was limited to the director or one of his assistants, a Cineflex
cameraman and a vision engineer. Shooting aerial footage imposes numerous
technical constraints, beginning with the use of a very specific type of camera, the
Gyro-Stabilized Cineflex HD, which, as its name suggests, overcomes stability and
vibration issues to give an effect similar to that of a crane movement. Initially
developed for military target-finding purposes, the camera is able to zoom large
distances and tapes can be changed aboard the helicopter. Even so, it required 120
kilos of equipment to be installed in a confined space.
One of the cameramen hired to work on Home, Tanguy Thuaud could boast twelve
years' experience of aerial filming and several flights with Yann Arthus-Bertrand for
Seen From The Air. He emphasizes the flexibility necessary while shooting: "We
couldn't always choose our helicopter or pilot and in aerial photography 60% of the
result depends on the chopper's power and the pilot's ability to control it." Not to
mention equipment, weather and communication problems. "As Yann took photos
while we were filming, on the first assignments, he sometimes had to show us the
result on his camera before we understood what he wanted."
On every assignment, the cameraman worked in tandem with a vision engineer.
One of them, Stéphane Azouze underlines the fabulous results obtained by the
Cineflex camera that he was responsible for transporting, checking and installing in
the helicopter before assisting the cameraman. The footage on the tape was shot
"raw" to give the maximum latitude when the film was color graded. Stéphane
Azouze says, "It means the shot is quite grey, flat and not very attractive, which
can be frustrating, but you soon train your eye to it as a transitional stage."
The greatest problem posed by shooting in a helicopter is the limited flight time.
Dorothée Martin explains, "There's limited fuel, the engine burns it up, every
minute is expensive and the possibilities decrease. On average, a helicopter can
stay in the air for 2-2.5 hours at the most and we were often shooting far from
refueling areas, so we had maybe thirty minutes to get the shots we wanted.
Obviously, we had to be as focused and efficient as possible."
Technical issues were nothing compared to the administrative problems the crews
had to overcome. Jean de Trégomain explains that in each country, "we had to
grasp local culture and their way of working, and fit in with it." Several levels of
permission were often required depending on the "security" demands of each
country, with India indisputably among the champions of bureaucracy. "We had to
make an initial request to the Ministry of Defense, Foreign Ministry, Embassy,
Army and Air Force, all at the same time," recalls Dorothée Martin. "Once we had
cleared that from Paris, we traveled to scout the locations and provide exact GPS
references for areas we wished to film. Then we had to wait for a reply..." A
year's prep work in all for two and a half minutes in the movie. And constant
surveillance. "When we were shooting, a security official was on board with us to
check the flight plan, the GPS references and what we were filming. That evening,
he viewed the footage with us. I wasn't allowed out with the tapes. I had to leave
them with the censor. Out of fifteen tapes, two and a half came back wiped
clean." These precautions were due to the Cineflex's zoom capability, which would
make it a very efficient spy camera. Some countries, such as Syria, ban the use of
WRITING THE SCRIPT... HALFWAY THROUGH
Another original aspect of the project—and quite a fundamental one—is that the
shoot began without a script. After a year's shooting, Yann Arthus-Bertrand asked
Isabelle Delannoy, a journalist and one of his loyal collaborators, to write the story
with him. "In the end, I think it was a good thing because the pictures tell the
their own story at their own pace," she says. By watching the footage, they were
able to pick out the narrative thread. Isabelle Delannoy comments: "I remember
the shock I felt seeing a shot that captured the alliance between water, sky and
the Earth. Yann and I realized then that it's the unshakable bond between the
elements, between humans and the Earth that fascinated us. It led us back to the
origins of the Earth because the iron in our bodies comes from the stars that
exploded over the Earth billions of years ago!"
Another vital prerequisite was "not to fall into the trap of gloom-mongering, which
isn't very stimulating. The film's message can be summed up by a paradox—we
have never been so dependent on natural resources and yet we have never cut
ourselves off from nature to this extent. We've gone dramatically astray in our
choice of model and we have to change now. We can only change if we all realize
and understand that it's vital. The aerial footage demonstrates that fact, while
providing the necessary perspective to think about the issues."
Isabelle Delannoy's educational approach extended to the voiceover, which she
wrote with Tewfik Fares and which concludes: "It's up to us to continue our story.
THE MUSIC, A CHARACTER IN ITS OWN RIGHT
There are the pictures. There's the text. And then there's the music, which
accompanies, flies, reveals emotions, never becomes superfluous and never
sentimentalizes the simple, poignant tale told by Yann Arthus-Bertrand's movie.
His experience, syncretism and worldliness enriched the project with a unique
poetic dimension. Armand Amar made several journeys to record with the Budapest
Symphony Orchestra and the Shanghai Percussion Ensemble. He wove into his score
chants and instruments from several continents (Mongolia, Armenia, Iran, etc).
"Writing the music for a film, you're at the mercy of numerous imperatives,"
explains the composer. "Everything stems from a scene, intentions... The idea is
to understand what the director feels, but also develop a personal vision of the
film while not overemphasizing the message. The score tells one part of the story,
the pictures another and the dialogue speaks yet another language, but it all must
combine in a symphony, a harmony. Composing the music for a film made out of
footage without a script was a real challenge for me. The music also lends
movement to the pictures and the emotion that its vision provokes is exacerbated
by the soundtrack. The film's rhythm is contemplative, but I didn't let myself be
carried away by these constraints. It was important to let the images breathe.
They're very silent images. We fly over landscapes, so we need silence. I kept only
the piano and strings from the orchestral parts. I didn't want an over-symphonic
effect. Like in traditional music, I favored horizontal writing rather than vertical."
Given the scale of the project, and because Yann Arthus-Bertrand couldn't be at
every location, the footage was viewed the same day that it was shot. A
compilation from each assignment was then sent to Yann Arthus-Bertrand, who
could then adjust his requirements from other locations.
This pre-selection also made the job of the film's editor much easier. Nonetheless,
she had 488 hours of footage to view! Joining the project in September 2007, Yen
Le Van started work five months after shooting had begun. She watched what had
already been shot and put it together to give an initial overview "choosing to play
on the contrasts rather than the effects."
THE END RESULT
"It's the first ever movie that is 100% aerial footage, which is Yann Arthus-
Bertrand's trademark. This film really is the culmination of everything he has seen
over twenty years and our objective is for it to be seen by as many people as
possible." (Dorothée Martin)
"The film shows the genius of human beings and their ability to adapt to their
environment... or to adapt it. And the big question is, 'How do we choose to
exploit our genius?'" (Isabelle Delannoy)
20% of the world's population consumes 80% of the planet's
GEO4, UNEP (United Nations Environment Programme) 2007
The world spends twelve times more on weapons than on aid to
SIPRI Yearbook, 2008 (Stockholm International Peace Research Institute)
OECD, 2008 (Organization for Economic Cooperation and Development)
5,000 people die every day because of polluted drinking water. 1
billion humans have no access to safe drinking water
UNDP, 2006 (United Nations Development Programme)
1 billion people are going hungry
FAO, 2008 (Food and Agriculture Organization of the United Nations)
Over 50% of grain traded around the world is used for animal feed
Worldwatch Institute, 2007
40% of arable land is degraded
UNEP (United Nations Environment Programme), ISRIC World Soil
Every year, 13 million hectares of forest disappear
1 mammal in 4, 1 bird in 8, 1 amphibian in 3 are threatened with
extinction. Species are dying out 1,000 times faster than the natural
IUCN, 2008 (International Union for Conservation of Nature)
XVI International Botanical Congress, Saint-Louis, USA, 1999
75% of fisheries products are exhausted, depleted or in danger of
The average temperature of the last 15 years has been the highest
since records began
NASA GISS data
The ice cap has lost 40% of its thickness in 40 years
NSIDC, National Snow and Ice Data Center, 2004
There could be 200 million climate refugees by 2050
The Stern Review: the Economics of Climate Change
Part II, Chapter 3, page 77
Narration Glenn Close
Director Yann ARTHUS BERTRAND
Producers Denis CAROT
Original score Armand AMAR
Script Isabelle DELANOY
Yann Arthus BERTRAND
Yen Le VAN
Voiceover written by Isabelle DELANOY
Yann Arthus BERTRAND
Film Editor Yen LE VAN
First Assistant Director Dorothée MARTIN
Cineflex Cameraman Tanguy THUAUD
Production Manager Jean De TREGOMAIN
Coordinator Camille COURAU