 I think we need to make this roof lift off for Michel Bras To translate his dear friend Jean-Pierre Hello Michel Thank you Maybe the first thing I want to say the first thing I want to say is that what you see here is that we see When you get in the the restaurant in Obrac there or on the souquet You come inside the hall and you see through your right hand the kitchen and every day somebody and many times Michel prepares these nice beautiful Flour of vegetable arrangement and it's sort of greetings the people who come I say that when you arrive at your house or to the right in the kitchen Yeah, yeah, it's the clean day in the vegetable garden. So this morning D'abord je voudrais remercier René parce que toutes ces éloges je les méritent pas Et puis tu me demandes en 30 minutes de te faire pénétrer dans ma tête comment j'ai pu créer le gargouillou ça va être difficile So you want to thank René and say that all in 30 minutes Explain and give the philosophy of the gargouillou just asking before the gargouillou ask to tell people every morning from 8.30 till 11 Alors ce que je n'étais pas dit René c'est qu'aujourd'hui je suis multimillionnaire parce que sur chaque copie du coulant j'ai touché un Santime And that is not true So he said that it here once and on every cologne in the world But that it's really not true and it's a lot and cologne is a chocolate cake We just saw and René it was at the scene he invent both at the mean time At the same time Yes, gargouillou and cologne are really contemporary So you haven't made a fortune of this chocolate cake So what he said is that The title of this demo today it's not leave from the cuisine but it's leave leave leave the cuisine leave with the cuisine So That's a big compliment Michel gives René and to this team is that doing the smart food camp you have put the man eating in his real dimension And his true dimension So feets in the ground and today in water This morning Par rapport à ce qui a été dit ce matin Je j'abonde tout à fait dans ce sens là mais moi je vais par entrer dans ce débat j'ai envie de vous faire Réveil So he don't want to that's really important and really I level speech from this morning. He want to make you dreaming Alors parmi tous les jeunes cuisiniers que tu as invité René moi je me sens un peu comme un dinosaureur Fait un comme un vieux Alors je vais essayer de raconter en quelques mots le parcours d'une vie parce que le gargoyle c'est le parcours d'une vie Alors un peu comme René comme bien d'autre A mon épouse parce que c'est le travail d'un couple c'est pas le travail de Michel c'est le travail de Ginette et Michel So it's the work from Ginette his wife and himself. It's not Michel only On habite un pays où il y a trois habitants au kilomètre carré alors on parle de la Finland mais chez nous c'est Compare lowbrack with the Finland where they have their three inhabitants per square kilometer donc c'est une espèce d'entêtement que J'ai cultivé par rapport à ma passion qui était la cuisine Autodidacte passionné J'ai toujours voulu poser un regard un autre regard Le regard de mon temps sur la siette So yet he was always Michel have always been obstinate to be to have passion to be and Mostly to be contemporary and to have a contemporary look at the plate Alors je vais pas Bon ça va peut-être être un peu difficile là mais je vais pas vous vous évoquer aujourd'hui les choix qu'on a fait en termes de cuisine que j'ai fait en termes de cuisine les choix qu'on a fait avec mon épouse en termes d'architecture en termes de Management de l'homme parce qu'on a beaucoup de respect pour l'humain parce qu'on était un peu la risée de notre profession à l'époque ça faisait jaser So Maison Brad, it's more than just cuisine the architecture is important and also the people and the way you treat the people is really important and He said that a lot of people from the you know the gastro world in France were laughing about them Because they had this specific philosophy alors pour moi la cuisine a toujours été une source d'émotion et j'ai voulu toujours Construir écrire mes assiettes avec ce but premier l'émotion So it's first goal when he's doing a plate since the beginning is giving emotion Et alors je trouve que dans des dans des territoires comme le nôtre Où on mange et on se nourrissait pour pas crever de faim parce qu'on n'était pas dans le lyonnais on n'était pas en Alsace On n'était pas dans le sud-ouest donc c'était vraiment une nourriture quotidienne qui se suffisait de peu So what we can say that in this area where a lot of people emigrate from this area to Paris for instance Was not as rich as Lyon or other place or Provence So it was really an economy of scarcity even in the in the everyday meals alors j'étais toujours fasciné par parce quand même on est posé on aime beaucoup voyager amérique du sud l'aine de 8 fois en fin tout ça on a toujours été fasciné Bon la street food ça devient un peu tendance mais nous il y a 20-30 ans qu'on l'a découvert mais ce que j'ai ce qui m'a fasciné c'est que avec rien on arrivait à faire quelque chose de gourmand et c'est là où j'ai un peu enfin j'ai un peu c'était parce que c'était dans ma culture aussi redéfinis un peu les codes qui habitaient la cuisine il n'y avait de gastronomie surtout que j'aime pas ce mot comme un gendu au mar du foie gras du caviar ou autre So that is really avant-garde Michelle speaks first from his love they love both to travel and So he says that more than 20 years ago he went to Asia India to Latin America and He looks at very carefully at the street food and that's if Inspired him because with nothing people Make something really tasty and this also part of his philosophy doing something tasty and good and gourmand as he said About with nothing, but people say nothing I have a fascination for the pain for the stage well the pain you know it was when I was young We had large tables at home here with a piece of a drawer where there was the mix of the pain and so Wait, he was always there, you know, in the middle of the pain like that at the bottom of the drawer Here and I like to mix that with sugar to put on a cream. You know, it's a pleasure to laugh. It was caramelized. It was good No if you can see this here. So You know at the family table there were always some bread, you know in And There were some remaining the bread crumbs, but just normal bread crumbs and Michel always liked to To try to transform this at sugar and to put that on a cream or just, you know Really a product that you normally throw away and he makes something good and And with this okay using the squeezing So there is a phrase of Soulage that I really like, Pierre Soulage, you know this painter who originated at home, by the way Yeah, so he's thinking about Pierre Soulage and also that's you will open a restaurant in this museum, no? Do you want to go to Soulage? There will be a new Michel Bras restaurant to scoop maybe In which city? Wow So More less you have more your expression is strong So So in his travel memories he went back to breads or swedish bread for instance, but also once in the in the dessert about the tour awake They They served him a bread just cooked on the sand And that was also goat meat, but meat was as he said goat meat was like this But the bread was so so delicate so so much taste and so much texture No Okay, so We go back we go on on on the travel and one of the product he looked he likes to look at When it's traveling is the different is the milk and the different expression you find in every country From ducé de leche from to tell the po deli that michel does In this restaurant and or many other places so all people with the same product express something different So Okay, so in they said that maybe you know his tendons, but in the year 70 he was serving a milfeuille with this milk skin and strawberries just pressed with the fork because When they are pressed like this when they must Little bit little bit much like this you have more the expression of the juicy of the of the strawberry So today to finish with the po deli, I'm going to come to garouille. Yes, don't be afraid The po deli today, I'm a great happy father I have four little children and I'm the king of the tarts because as a father and a mother It never knows how to make a tart with the good balance between the bread So my little daughter who is called the flora, she asks me the fabulous tarts at each meal So I just take the crust that needs I put the po deli Chocolat rapé de l'autre So something also really important in all the life of michels and vignette lapis the family and it's really important there when you go to the To the restaurant you see in the kitchen when the kids are there the kids of Sebastien are there and michel for grandchildren and he's always Loving to prepare a tartine for them. So a slice of bread, but each shows the juice proportion between The center and the crust and after you have this meal skin some salt some rask chocolate some Red berries and flora ask Is a granddaughter ask always the Wonderful start in jenny, yes, yes, yes, yes That I would say we come to garyou so my approach to nature in all that you will say good I live in a country where there are three inhabitants who have to be like I said we are blessed with nature and nature Well, at home, it is really I don't want to say aggressive but it is austere it is impenetrable and how I penetrated it by Two ways by the foot race that I still practice By the way, I'm doing the marathon of new york this year with david, I don't know where he is He gave me the challenge And then the photo With the photo we put our eyes on By the frame we put our eyes on things on humans and that's how I was able to understand a little better this Nature and Responding to a sentence from the martin who says the nature is there who invites and who loves So first I finished with la martine We say that nature is there who invites you and who loves you like you loves you Michelle says and that that's really true when you go there, you know when when you're the swindies call and so on You know the obrack is really austere really strong. It's not So nature gives you immediately So the way if you find to be more comfortable with this nature There's two ways first the jogging every day at five o'clock. I think afternoon a 5 o'clock to go to cournot. No This year I live at 4 o'clock. I've been doing three hours and a half so Every day in the afternoon after service is going for for this jogging and also michel is a really great photographer In this book. I think you have seen the picture if talk all over the world and also the way you look at the nature For your your lens, you know, it's giving you another relationship with nature and other understanding La cuisine c'est pas c'est pas sérieux c'est c'est pour faire du bonheur c'est pour offrir du bonheur okay, so Like first for full Is is soon 65 but who want to know that? and Is but it's still a child and What is really important for for him is to give to transfer to transmit happiness That's the first thing when he's doing something The child who doesn't play is not a child, but the man who doesn't know how to play has always lost the child who lived in him And who will never encourage him So no Pablo Neruda city Child is not playing. It's not a child, but the man Who kind of is not able to have to play have lost forever the child who was living inside himself And with what he will miss forever Okay, so start So um nature is talking but it's experience with working is that The nature is talking is that experience Which translates So it's the experience So no it's the experience So Okay, so um michel He was 33 when he uh, when he He set up the the gargoyle and he says it was not maybe possible before because you need some knowledge you need how to cook or to select even how to slice Okay, so it's the gargoyle it's it's uh, what he the way of looking to nature, but you speak about happiness joe flowers And mostly leaving nature So first first first thing to make the gargoyle that's the the farmers for which you were from the lot from which you work since 40 years So Okay, so About foraging you say okay There's moment where he he chose to to collect leaves to collect flowers, but he don't want And in his restaurant to start to deep freeze to you know to froze the sorry to froze them The the the the the plants and the flowers and so on he want he just is concentrated On some season and some some plants for the foraging So you have Also garden made about if you remember what magnus told with the the benches and all these things made of the same principle So you have compost you have these wood things and uh, he's How many are you at planche? De variété You see So 25 different, you know, like rectum, but you have to do the aromatics. Yeah, and uh, it's mostly As you say aromatic plants and and so herbs and things but also he it's not only, you know, uh Local it's also he is influenced by plants. He finds so crony under from bolivia She's of course sun show and all these things Well, and they able to he able to exchange for instance, we found a new brings things and yeah So he's waiting that you send him or you give him something back to plant his garden Uh It's true when you arrive in the kitchen you see always michelle first thing is slicing with the mandolin And it's something you don't want to give to other other people. It's really important for him So Okay, so there's Not the every day the kangaroo change, but what is important also the technique he will apply to Use for one type of vegetable could change from one day to another one. It could be cooking olive oil. It could be just Just poaching in stock or in water or row depending of what he feels and what he just they've seen And what is feeling from the product on the same day So That's uh, the tools are coming on the on the table The most important is this one, but you have you have the japanese one no from kai Ah, okay So, uh, you know, it's you then before I was using this one I remember the last year's he get one the big one from kai because michelle is also developing Knives we've come you know the collection and now he's developing um, you could like mandolin a mandolin With kai who will be precise at 10 of millimetre Or uh, it's the gargoyle of mad so he's a little bit crazy. I think it's the english terminology. No mad. It's not Who Okay, so it's a mad gargoyle today because we had a mad food camp Yeah, nobody is laughing So, okay, so you went with oliver to to make some shopping And come on So forget about the the cooking the different style of cooking now He wants to just explain the philosophy or the way or he approached the vegetables He cleaned all the roots and all the all the dirty part with this sort of thing Variety of pommes chez moi qui s'appelle la canne et Qui a rapport d'acidité de sucre que j'aime beaucoup Et donc je la fais cuire sous vide Et je la laisse 48 à 72 heures sous vide et il y a Une migration de la pigmentation de la boue qui rentre dans la chair. C'est assez étonnant. C'est tout rouge c'est beau So, oui à quelle température tu puis ça? Oh Okay Disciple who's called a canne and he chose this apple because the Proportion between acidity and sweetness is what he likes the balance is what he likes and he cooks sous vide at 50 degrees For one or Because what he likes in in the sous vide and after the the apple stays for 40 or 48 hours sorry sous vide And the effect normally if you that sous vide is that you have a migration from the pigment red pigment who are here inside And it's quite beautiful I Okay, so um is why I like seeing the in the apples the the seeds and Michelle no in some dishes use the seeds and he made a plow with uh the dish sorry with foie gras and on the edge of On the on the on the plate you add this this this seeds Who just appealed you to taste them and to have some bitterness some almond taste to match with the foie gras Alors So The models the mama everywhere what's what you call everywhere in the world At in in the countryside did not throw away nothing they they they use everything and he says michel think that's a responsibility that every cook in the world Mustive for respect for the environment for and for the nature and In front of the for for the society. It's a social behavior And So he's taking the broccoli leaves and just poach in boiling water So for the center part he's always using uh slicing 45 degrees it's something he just Now For instance for for the center part because it's a bit um not not tender enough so he will slice quite finally and and just cook a bit in olive oil because you want all with some taste. When I look at this, well, we are in the Choux family. Cabbage family from Romanesco? When I look at Romanesco, he is all baby and he suffers from me. I don't even want to cook him. So what I'm going to do on this type of vegetables, I'm going to block him in a frying pan just to block the color and I'm going to use it all raw. So the Romanesco is quite young, he says it's a baby. So he's so tender that's a baby and he will just put for one second in boiling salt water just to keep the color but the filling in the mortar will be raw. When I cook my garouillou in the morning, I don't need too much poison, I don't need to complicate the food, I'm in the universe. So and when he's doing this gagu and that's true, he's experienced it. He is in his own world, you know, you don't have to talk too much to him. He just gives this to the team and to the chef what they have to do but he is in his own world. It's like, I think it's like you pray when you make your own. There were 20-30 years ago, the style of the products that we would have thrown away, we would have only looked at the flower and today it has completely changed the gift. So I remove the cellulose that is all around. So what I want is that my garouillou too, I told you that I wanted to live it. I want it to be alive, to move, to see that it is voluminous. So the size of the vegetables counts too. If I have long vegetables, croquins or not, I'm going to make vegetables a little more confusing. I play a little with the textures, with the cooking. My garouillou, I live it as I cut my vegetables. So the garouillou, as we already said, evolves in function of what he's doing. And what is important is that he will adapt just any technique at a minute. So he's changing at a minute what he's doing. For me, they are very tender. We could confit it with butter, for example, a half-salt butter. But they are so tender that I rather want to cut them in this way. And that is an evolution of 15 seconds, and it breaks. So from the broccoli marrow, you've seen that it was really tender. So first it starts like this, and after it changes, and it will cook it 15 seconds in boiling water. We have a little more time, but I can have 10 more minutes, right? You want to change? I will ask for more time. They have a technique in South America too, for the petit marron. It's to soak it in a warm milk. It makes a kind of cooking. It's quite surprising. This one is a little green, but... So it's a technique from Latin America? When they use some kind of calcium... It's a kind of a hot milk, it's a carapace around it, and then you can cook it in a kind of confectionery or a dish that is much more expensive. It's quite surprising. You have to ask for it, Alex. I have the report, I could give it to you. Alex, how do you say hot milk? It's not there? It's not there? No, it's not there. It doesn't want to answer. So it's like a calcium compound, water, you know? No. Sorry? Calvation. Calvation. Is it an exclamation? It's so short, you know, the white calcium-based cement, like the cement, you know? I'm sorry, I have no clue. Cal. Cal. Limestone. It's not limestone, it's different. It's really what they use in the building. I have a question for Michel. Could you ask, since he changes his recipe every day... Because you change it every day, right? Our recipe is the absolute truth for a chef, you know? Can it be? What do you mean? What I mean? I mean that... I mean what I... I mean what I say. What do you want to... Is the recipe... Maybe you can ask that then. You know, is recipes the absolute truth for a chef? Or is it the recipe that does the magic, or is it the hands? It's the taste. Because I eat, I... Yes, yes, absolutely. So I have cooking types that are adopted by the team. And I tell them, well, since today it's a carrot, it's all young, all beautiful, but in the gargoyle we're going to put it raw because I want to crush it. So there's a carrot that I'm going to feel a little less. I'm going to cook it, I'm going to cut it, maybe a tronçon. In that sense, you see? And then I'm going to cook it in a bouillon of vegetables with a tronçon of jambon, of renda, and I'm going to cook it again. Really fondant, you see? This one is beautiful. If you cook this one, the color changes completely. So I don't want to deteriorate it. So, no show, let's go. But this is very, very interesting because how do you... How does it tell a chef this, you know? You know, he's telling the chef to his team, you mean? Yeah. You know, he's there. You have a team there in the back. They're all facing each other. And it's okay. You say, okay, this carrot is like this, please. Do it like this. So in, for instance... But each chef is different. What do you mean, each chef? The guys in the back? Yeah. They are 10. Yeah, and each of them is different. Yeah? So... I think Michel... You know, I think what I... First time I heard from Michel was from on the Pussel Brothers. And he said that in Michel, really, the organization and the structure is really, really strong. I think he communicates really quickly with his team what he wants and they know what he wants. Yeah. That's true because, in fact... I think Laurent Porcelik of... No, but what I mean is that, so he trusts that the chef does the magic, not the recipe. Yes. No, I think... I think... He said that you think that the chef does the magic and not the recipe. It's the recipe that makes the magic. Because it's the chef that makes the magic or the recipe. Well, it's linked. Well, it's linked. Well, it's linked. It's linked. It's linked. It's linked. Making, you know, like... Just giving a guidance, yeah. Yeah, the guidance... And I think... On varn des bacres ce soir sous le pont. No, we'll talk with you tonight. It was a private. But I think... It didn't look like, because it looked like a poet. You see, I'm trying to get into the head of Michel Brass. Yeah, yeah, you see, but actually what my own... my experience is that he's really, really strong in what he's saying. It's like a poet like this, but it's not like this in the kitchen, you know? It's really, and the guys have to understand really quickly, but it takes time to teach them for these two. It's passion for the guys. I say, I'm not sure with the people, and you take the time to teach them. Yes, yes, yes. And then I talked about the human relationship too. The human relationship with the company, we never called the bosses, we always call them Michel. And I find that it creates a climate of trust. When they have something that... The boss has to put on a statue. We are gods, semi- gods today. And the younger or the younger ones, they have trouble learning. You say, Michel, we're going to run together. The Monday, we're not going to talk about that. No, okay. So just, no, no, but the human aspect of his team is really important for him. For instance, they are jogging together. They have a sort of team. Do you want to break them? Do you want to break them? Yes, yes, yes. So they have t-shirts, they, you know, they do things together, but not all the time, but they have something they do together. And it's important, he never asked that people, that the guys called him chef is Michel, because he thinks that, and more know and more older, the top chef are like statues, living statues. So he wants to be more accessible, as much accessible as possible from the guys, and the young guys who are there. You know? You don't have to forget, René, that we are happy merchants, and so on. We are happy merchants. If you are happy merchants, you have to love your men, you have to love your producer, you have to love your clients. There's no mystery. So, okay, I, that, you know, I don't know if merchant of happiness is enough. Happy merchant of happiness is so nice in French, but it's, it's, that's what he wants. He wants to give happiness to his clients, and that's the most important thing for him. I'm back to carrot. I'm back to my carrot. When I see this carrot... Back to the carrot. I find it beautiful. So if you squeeze it with the beautiful texture, the beautiful structures, the ones there, if you squeeze it, it stings. So I also have an advice for the mandolin that I've been using for a long time. It's that I make a 45-degree cut so that the bite of the vegetable is always the way it should be. Because if you make a, a mandolin approach like that, you can't do regular cuts. You say that with this bite there, you can adjust, adjust a cut really at 1000 meters. That's it. So I'm back to my carrot. There it is. So this one, it's beautiful. So just quickly, quickly. I want to crush it. So what I want is to treat it really fine, fine, but at the maximum, you see? And then there, it's going to come, flower the garbouillon somewhere. That's all. It's not going to be cooked. I'm going to keep it like that. You will see the metaphor. That's all. Yeah, you are really metaphoric. So one important, just from metaphor to practical things. So each slice always is vegetable 45 degrees. So it's more easy to come back like that. So you come back like that. Like that, voilà. So you have an even... Because the knife is stuck. So... But it's like that. The knife is there, the carrot goes right away, slipped underneath. The angle is complementary, you see? And also about this, it's true that if you cook this one, you lose the color. So, and it's so delicate, but what he wants is to express, I think, the transparent. So slice as thin as possible. And he says, this will flourish my dish. Well, there is a cooking that I like a lot, that I'm going to talk about here. It's a cooking... Young, I had fun making chardonnets. You see, the typical things here. Really, it's distal. Chardonnets. It's typical. It's the problem of the Ecosée, or the country of Gaul, you know, in the city. Distal, distal, yeah. Distal, yeah. So we have distal. With grains, and then there was an oxidation like artichaut. And then, well, in the cooking industry, artichaut, how do you cook it? We put flour, we put... What do we put? Citron. He makes a white one. White one? No, you make a white one. You make a white one. I don't know. Yes, it can make a white one. Ah, ah, ah. And when we cooked the artichaut, the artichaut, I said, he had fled. He had no more. So, back? The artichaut, he had more taste. He had more, he had... So, he was... You used chardon, no? Yes, when I was young, I enjoyed it. OK, so when he was young, he used distal, so the already white plants, and he was explaining the classical cuisine with blanc, so we have flour, you have lemon or vinegar, and but when you cook in order to avoid oxidation, when you cook the artichaut in this, you lose all flavor. So he was not agreeing with this technique. So, the cooking I do is a broth that I make very aromatic. So, I have a fascination for orange. So, you make a really aromatic... I don't want to explain it today. So, he loves, he's fancied by orange, eh? Yes, it was the friend who had the grandparents at the time, at Christmas, I mean, yes, it was the king, I know all that, that's it. And so, it's a broth with coriander. Coriander? Coriander, a little herbs from the garden I had in the morning. Some herbs. Garden? And with an oil film on top, which can be smoked or not. And this oil film prevents oxidation of the vegetables that are below. Okay, and so on top of the water, you have, because it's lighter, you have like a film of oil, just a really thin oil, sorry, and this oil evolved to have oxidation. And I like this kind of cooking because the artichaut, the artichaut, the celery rave that I have here, it's white, it's transparent, and the taste of celery rave, that's it. So, he likes this type of stock of cooking, sorry, because you'll see everything remains white and you have no motivation. So, to be clear, the oil avoids the contact with the air and with the oxygen. How many minutes, how many minutes do we have? Ah, well, we're way over. Do you want to eat that? Well, is he going to cook it or? I think we'll explain. Yeah, yeah. Well, let's turn on the flame. Okay, but he's cooked, we're going to put it on, for the dressing, there's four minutes and 30, that's it. I'm talking about four or five products, that's it. Okay, you give four or five examples and then we move on. Yes. Okay. Putting the mushrooms like that, I like the mushrooms that are open because they have an advantage in taste. So, he likes the open mushroom because they are more tasty. The mandolin, wait a minute. And so, I cook it, I make a mushroom broth and I make a liaison that we find in the Middle Ages with peanut crust, with roasted peanut. It brings aromas that are quite extraordinary. So, he cooked the mushroom and he bind his binding with old recipe from the Middle Ages based on bread crust. So, as I just looked at, yeah, the broccoli, I look at it in the same way, if you want. He looked at the cabbage, this sort of cabbage there, all cabbage in the same way. Si je cuis cette feuille, la cote va être crue, la feuille va être archi-tuite, donc ce que je fais, je vais traiter la cote. So, like you do for chicken. So, it's cooked in... De manière différente, voilà. You cannot cook the old leaf together in the meantime, because in the same time, because this one is less tender, that is more tender. So, you have to separate and give the best presents. When je regarde ça, j'ai pas envie d'être le cuisinier irresponsable, ça et... Hop, non, non, non. Don't want to throw away the leaf. Everybody got that one. So, eat everything from now, eh. À la maison, je fais souvent le tour des poubelles, là, parce que... Yes. Et donc, ça, je vais le traiter avec une type de cuisson qui va être différente, suivant que la tige est creuse ou n'est pas creuse. Okay, so, if you have an empty stem or non-empty stem, again, the way of cooking will be different. I think it's more, it's working a lot on tenderness, you know what I mean? Looking really tender, not tender and adapt, you know? I think he's also making vegetables more than just a side. Ah, of course, it's full. It's it's the dish, it's... Il y a des assaisonnements que j'aime faire aussi. On l'atomate, on l'émondes, je garde la peau, je la fais sécher, et je la mets avec du sel pour faire un petit gnat, parce que mon gargouillou, il est pimenté, il est, comment dire, il est dynamisé. Boosté, boosté par des petites touches, voilà. So, okay, that he will come to other things, it's the long story, it's the nyak. So, for instance, for the tomato, he's taking the skin off and he's drying the skin and adding some salt and doing something that will be a seasoning, so tomato skin, salt, and it's one of the seasoning that they do, the nyak, they call the nyak in the book, you know? Le nyak, c'est l'orbit de vie, là, tu sais. C'est de la coup, oui. On m'a gagné la coupe du monde, d'ailleurs. Je m'arrête un peu, mais... The nyak is a word used in the riddy, when you give, you know, you have to give the effort in order to... Derricko, derricko, je veux derricko. The beans, je vais les donner. C'est la pagaillée, non? Derricko, verre, là, il n'y a pas, là. C'est si, j'y avais, j'y avais. So, we have two movies, it's Bean, Michel, Brian, Lost in Translation as well. Sorry? What do you say? It's always... It's always... Attends, alors, où ils sont les cuites? I see, I see. Oh, c'est qu'on a les cuites, on en a, là, non? Attends. There was something here, yeah. What's missing? C'est comme le haricot verre, mettons. Quand je le regarde, moi le haricot verre, alors, j'aime bien les tailles. Alors, le haricot verre, moi, j'arrache toujours la pointe où il est attaché. Ça, je sais pas pourquoi il y avait des maniérismes autour de la cuisine, où on enlevait ce goût, parce qu'il y avait du film, et si il a haricot verre de qualité, j'ai l'impression que tu enlèves un oeil, c'est comme une belle fille, tu vois, que tu enlèves un oeil. Alors, voilà, il y a haricot verre, je laisse ça. So quickly on the bean, so it's just taking away the part which is attached to the plant, and this one is saying, OK, why do that? Why not keeping this? And he says it's like a beautiful girl if you take her away her eye. Et j'aime bien, oh yeah, it's strong huh, beans and girls. Non mais, c'est pour rire, comment j'aime le légume quand même. So let me see if I got this right. So a bean without the tip is like a girl with only one eye. Yes. So you have a better translator. We need two steps. Alors, j'aime beaucoup les haricots, si tu veux, qui ont de la marche. Les haricots fin, là, j'aime pas trop ça. Moi, j'aime bien que ça croque. Et donc les haricots verts pour préserver la couleur et tout ça. J'ai une taille de légumes que j'adore, c'est celle-là, tu vois. Et j'ai pas trouvé le bon haricot verre. C'est les refendrandeux comme ça. Voilà, j'aime bien les refendrandeux. So he like the beans where you have to shoo, you know, not just thin and sparse quickly. So he like to shoo so and he show you or he slice the beans back in the middle. Sur un radis noir, mettant, je vais garder la peau. Et ça, je vais le confier avec du beurre. Ça a un goût de terre qui est intéressant et ça me servira de nyac dans la siète, tu vois. So the skin of this black radish, it will cook in butter. Je le blanchis. Like confit. And after that, he will use as a nyac again, so seasoning. Bon, alors ce matin, j'ai parlé de pommes, j'ai parlé de ça. Bon, maintenant, alors ce matin, avec... Ah oui, là on avait des topines à mouc, on a fait cuire ce matin avec Olivier. Des petits aubergines, des petits aubergines. Small aubergines, small eggplants. Voilà, on les a cuits et puis bon. Voila, cooked. It seems good, OK. Alors, c'est vendredi soir, on a fait ça à la braise. Ça, je l'aurais fait à la braise, tu vois, si j'avais plu. That's corn, c'est du maïs ça. OK, sauce. Or, mon gargouillou, maintenant je vais vous montrer comment on fait. Olivier, comment on allume là. And now, the gargouillou. Donc au départ, le gargouillou, il peut avoir plusieurs signatures suivant que c'est l'hiver. Or, le gargouillou, suivant qu'il est du printemps, de l'été ou de l'automne. Il n'a pas les mêmes connotations. Au printemps, c'est de la ciduler et sur l'automne, c'est davantage du confit, du sucre. OK, so the gargouillou, of course, evolves from... Michel, tu ouvres au début avril, hein? Oui. Tu fermes le fin octobre? Fin octobre. OK, so the Maison Bra is open from early April, first April to end of October. So you have many three seasons for the gargouillou. Spring, summer and autumn. And quite clearly in the spring, you have more acidity and you evolve at a fall to something more round, more sweet. Et donc, en règle générale, il est axé sur du jambon, mais bon, il y a des... parfois ça peut être sur de l'anchois, ici, pourquoi ça serait pas du haram, pour amener cette connotation un peu puissante des régionalistes aussi un peu. OK, donc dans chaque gargouillou, il y a un peu de protéines animales. Il y a une tranche de jambon. Aujourd'hui, on l'a pas eue. Quel genre de jambon? Du jambon de pays cru. OK, on a fait que du bécon aujourd'hui. OK, so what's important also, you have this meat of fish states in the gargouillou. You have, oh, you have ham, like a dry ham. Or this, you have sort of bacon. Sometimes you can have anchovy. You say, if I would do here in this country, gargouillou, I will use herring, for instance. Et là, c'est des connotations de fumée qui vont ressortir. C'est pas ce qui m'enthousiasme. Moi, je préfère le jambon sec. OK, so. Avec ce côté plutôt orange. OK. So it don't like in this gargouillou to have the smoky aspect. So really the dryness of the ham. And what else? T'as su chercher? Ah bon, d'accord. Donc je le fais un peu rissoler, le minimum, pour qu'il dégage son parfum. Après, je fais un déglasage avec de l'eau, là. So you see, it's cooking just to have a bit of grease. And after, it's... Là, c'est un peu le camping. You say there's camping here. It's a mad food camping. Et donc tout à l'heure, on avait, tu sais, j'ai parlé des knyaks, tu vois. Speak about knyaks. Tu écris ça N-I-A-C, c'est ça? N. Que tu écris ça comment? N-I-A-C. C'est ça. N-I-A-C, knyaks. Donc là, c'est de l'huile d'olive. Alors si tu veux, quand je construis une assiette, quand je construis un gargouillou, c'est un peu comme une page. C'est comme une pagination. J'aime bien les assiettes blanches, immaculées, parce que j'ai envie par des touches de couleur ou des touches de... par des textures guider le regard du consommateur. Voilà. So that's important too. So first, you like to use white dishes. It's like a drawing, like writing a page, or drawing a page. And the white is there. It says, even immaculate. And you want with all these colors and all the way we position all the things and to give a way to the customer, to the eye. Là, j'ai reinventé, c'est du gomazio comme on a au Japon. Eux, ils le font avec du sésame. Et moi, je le fais avec de la noisette, avec de la noix. So it's the principle of gomazio but done with asin, for instance, and not sésame. Donc là, je pourrais avoir ma touche de pain, aussi, si je voulais. Dry bread is coming. That's your middle olive, non? C'est pas le noir, c'est pas de l'olive? Donc c'est de l'olive confit à la grecque, à l'huile, qui est séché. So dry Greek olive. Et avec ça, je fais l'huile qui est couleur ébène. L'huile que je fais avec ça est couleur ébène. So it's mixing that with olive oil and the oil is totally black. And he made this dish with monk fish. I don't know if people remember. There is the monk fish dish, black ombre-lumière, so light in shadow and he made doing this sort of falling with this olive, black olive. T'as une autre cuillère. Quoi? Non, je demande l'oliver. T'as pas une autre cuillère. The spoon? Ah, ok. J'adore beaucoup les supports lipediques que j'utilise toi, Tarelle Inègre. Mais moi, j'utilise beaucoup les supports lipediques pour les fleurs, pour le mélis l'eau, pour la reine et pour... So, in a multitude of... He likes the only medium because in this sort of substrate or medium he can incorporate flowers greens, herbs and different things. He likes very much to use the only texture. And... Le rouge, là, c'était la tomate? Oui, c'est de la tomate. Ça change en permanence. Ça bouge, ça... It's evolving always. So, right there, what you see is tomato. Or ce matin, on a cuit plein de légumes avec oliveur. So, t'as cuit tout ça, c'était cuit au bouillon? So, t'as cuit tout ça, c'était cuit au bouillon? So, t'as cuit tout ça, c'était cuit au bouillon? Et donc on cuit les légumes le matin d'individuellement. Et après on le monte dans des barquettes, on en monte à peu près 80 par jour. That's normal. Just one thing I see because about Michel doesn't want to throw away. I remember one morning six o'clock in his garden at home and, you know, he had the order from the cuisine and when he speaks about the plant it's 63 leaves. It's not, you know, a full hand. So, it's 43, it's 40. So, it doesn't want to really you want to spare every product. So, on la je mets un peu de beurre pour faire une liaison. Better in order to bind. And you put a bank et quand tu as du jambon tu fais la même manière tu cuit ton jambon aussi. So, it's when it's like country hem style of parmesan, serrano or all this things or bayon this ham is also cooked in the same way. And the garbouillou, I don't want it I don't want it to be dynamic. I don't want it to be cooked again. It's nothing when it's heating up because the vegetables will get fried and it won't be beautiful. It won't be alive. So, there, you are not cooking the vegetable just giving a bit of temperature. I'm a bit old. No comment. No comment? He's just too old, not strong. It's just because he wants no, no, no, no, it's not true. So, no, I think, Rene it's done. I want to know one thing. How does Michel Bras He's the garbouillou of the match. So, now he's playing with flowers. That's a mad garbouillou you said. Normally, you know, we have seen the picture Rene show, it's more... This morning with Oliver we cooked a pan in the oven with a paper and we mounted it with butter. So, it could be hot and we brought a touch there. That's a... parsnip cooked in the oven in aluminium and added with some butcher and so on. So, that is your this morning. So, I like to play with flowers because flowers... There are flowers in texture. So, first the herbs. Well, I don't know, we have a lot of things there. Well, why not a kitchen knife an oxalis. So, you have oxalis an astrucium. Sturgeon, sorrel wild chervil adding plants The dish. I don't know if it's going well but I like it very much. Oh, there's a button there. I like when you discover the garbouillou like that is that you have the eyes everywhere. So, you discover the garbouillou in front of you your eyes are going everywhere to try to understand what's happening and what is in front of you. But you have a question, really. Well, I want to know how it feels that this is probably the most copied dish in the world in fine dining ever. What do you feel knowing if you should know that it's one of the most copied dishes in the world in fine dining? You don't like gastronomy but it's good. What I said earlier is that I said I was a dinosaur but I'm particularly happy to be with young people like René Alex and all that. I have the impression that they have how to express that. It's that they don't live in the kitchen. They live in the kitchen. What I was saying earlier because I was part of a generation that used to do this type of kitchen. You used to talk to your heart but you really used to treat cats and dogs all that but you were crazy. So he said that as he said he named himself sometimes a dead dinosaur but he's really happy to be here with young guys like Alex, like René because also he feels that they also live the cuisine and not live and they do the same thing and he said when I started doing this and doing pig stock using this this product where they have no bless it was really really not very well seen by the... If you want somewhere I'm happy because for a long time with my wife we were a little disappointed because we really went for a walk this movement and here to comfort us in the approach we had 23 years ago. This summer when we count the vegetables there were 80 different varieties they count all varieties there were 80 different things on the plate 83 is first vegetable so it's first vegetable dish in 83 at this time you had the vegetables and you know it always is the idea of scarcity and products secondary he was using really the non-normal parts for example for a rabbit so the brain the kindness all these things that normally you don't serve last question I think we agree I want to see the finished dish you are the boss he's the boss here we are here we are Mark so is this the move? no this is Melillo no it's the what is it? it's the the weight weight of center I forgot to say in English but it's decorative it's a type of pee nobody I know let's stop here because I'm not alone it's finished