The documentary itself is a true, creative work investigating all the corners of Hergé’s personality. All his life, Hergé questioned his own moral virtue and looked for clarity and wisdom, and his angst and doubts are reflected into the colourful drawings in the Tintin albums.
By coincidence, the director came across material that would provide insight into his main character’s inner, emotional dramas. Østergaard made a scoop in finding old tape recordings of interviews with Hergé made by journalist Numa Sadoul in 1971. The tapes constitute comprehensive autobiographical material about Hergé and were protected from the public by the Hergé family until Østergaard was allowed to use them. The documentary is constructed on the basis of this material, and Sadoul acts like the narrator, sometimes appearing on screen, commenting on his meeting with Hergé thirty years ago. Sadoul almost served as a psychoanalyst for Hergé who let him in on deeply personal aspects of his life and difficult periods of anxiety and depression.
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