Roger-Luc Chayer (Photo: Unknown Source)
The very cute and sexy Timothée Chalamet, mega Hollywood star known for both his talent and his looks, recently got himself into hot water with an opinion he expressed about ballet and opera, prompting some film critics to cry outrage and even suggest he might be denied a future Oscar. But what exactly did he say that was so terrible?
Here’s essentially what he said:
“I don’t want to end up working in ballet or opera, in areas where people say, ‘Hey, we have to keep this alive,’ when in reality nobody cares anymore.”
He immediately added, in a semi-ironic tone:
“All my respect for people in ballet and opera… I’ve probably just lost 14 cents of audience by saying that.”
The idea he was expressing — awkwardly, according to many — is that some traditional art forms have become marginal or less relevant to the general public, and that he didn’t want to work in areas that survive mostly because people try to “keep them alive.”
The Reaction from the Artistic Community
These remarks triggered a quick reaction in the arts world. Institutions like the Metropolitan Opera and the Royal Ballet and Opera publicly responded to defend the vitality of these arts, while several artists — dancers, opera singers, and cultural figures — judged his comments as dismissive or ignorant.
The irony widely noted in the media is that Chalamet himself comes from a family connected to ballet: his mother was a ballet dancer and teacher, and his family worked with the New York City Ballet.
Why This Controversy Could Influence the Oscars
The minor controversy surrounding Timothée Chalamet gained attention particularly because it occurred in a very sensitive context at Hollywood and the Academy Awards. During the period leading up to the Oscars, every word an actor utters is scrutinized and amplified. In this system, public image matters almost as much as on-screen performance.
When Chalamet made his comment during a conversation with Matthew McConaughey, he was mostly talking about how certain art forms are perceived by the general public today. Yet many cultural critics felt his remarks implied that ballet and opera were outdated arts being artificially kept alive.
In the world of the Oscars, this kind of controversy can be problematic for a very specific reason: Academy voters often come from the traditional arts community. When an actor appears to disparage an entire segment of the arts, even inadvertently, it can create a negative perception among some voters.
It’s not an official sanction, of course, but reputation and likability play a real role in voting dynamics. Media controversy can distract from a performance or give the impression that an actor is arrogant or disconnected, subtly influencing the choices of certain Academy members.
In Chalamet’s case, several Hollywood observers believe the actual impact will likely be limited. The actor remains extremely respected for his work and enjoys a strong public and industry image.
My Personal Experience with Hasty Judgment
But did Chalamet really commit a crime of lèse-majesté? I’ll speak from personal experience, because I once made a completely dismissive statement without realizing it. It was neither out of malice nor contempt, but simply out of misunderstanding.
In 1985, at the Conservatoire National de Nice, in the chamber music class led by conductor Paul Jamin, during the selection of pieces for the final competition, the conductor chose a piece for horn and piano by Francis Poulenc, Élégie pour cor et piano.
I was shocked by the contemporary aspect of the work, which I perceived as atonal and difficult to listen to. The Élégie is a short but expressive work, written in 1957 in memory of the famous British horn player Dennis Brain, who tragically died in a car accident at the age of 36.
The piece begins with a dark, meditative atmosphere, the piano introducing the horn’s grave and expressive melody. Despite its brevity, it has become one of the key works in the horn-and-piano repertoire and is regularly performed in conservatories and concert halls.
Paul Jamin’s Teaching and the Lesson Learned
Like Chalamet, awkwardly and out of ignorance, I expressed remarks that reflected my lack of understanding. During a sight-reading session in front of Maître Paul Jamin, I stopped and said:
“Master, this is a horrible piece. I came from Canada to make music, not noise.”
Paul Jamin, who had studied with Francis Poulenc, replied:
“Well, you came from Canada to go straight to the director’s office.”
Suspended for a week, I then followed his advice and, week after week, he guided me on interpretation, tone, and color of each phrase. By the end of the year, I participated in the chamber music competition and received the Premier prix de Musique de chambre at the Conservatoire National de Nice. Paul Jamin had been right.
What Is a “Premier Prix” in Conservatories?
In France, receiving a premier prix at a conservatory means the student has reached the highest level of excellence in their discipline, whether in music, dance, or theater. This prize is the culmination of a training cycle, evaluated by a jury of professors and professionals.
The Premier prix indicates that the student has achieved a professional level, opening the way to a career as a performer, soloist, or orchestra member, as well as access to prestigious higher education or international competitions.
A Lesson on Understanding and Humility
All in all, Timothée Chalamet seems to have made the same mistake I did in my arrogant youth. I bet that, soon, after learning that ballet and opera are unique cultural forms, he will better understand these arts and may even come to love them, as I now love Poulenc’s Élégie.
Thank you, Maître Paul Jamin!
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