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Interview with the actors Omar Sy yy Clémence Poésy from «Demain Tout Commence»

What was it that thrilled and seduced you in the script?

The relationship of this father with his daughter, built around humor and tenderness. I also liked COMME DES FRÈRES, Hugo Gélin’s previous film, which combined moments of authentic comedy with moments of great sensitivity.

How to explain Kristin’s behavior? Although the film does not need, did you need to understand why she acts as she does?

Yes, I tried to define on my part why, in my opinion, this behavior was inevitable and the ball was growing until it ends up leaving.

On the other hand, it is often said that you have to defend the characters you play, even if their behavior is sometimes unforgivable. Could you find extenuating circumstances?

Yes, I did. For my part, I tried to understand it as best I could – but it was not always easy. I spent a lot of time telling Hugo that I did not know very well what was my place in such or other scenes, and he spent a lot of time explaining to me that precisely my place was this: an almost permanent discomfort.

Did you hesitate to accept the role? Were you afraid?

Yes, I was afraid of many things: it is a complicated role because few things justify it – they define it – and sometimes, I ended up looking at it in a somewhat metaphorical way, because it was not so obvious to be fond of something concrete. But I decided to take it as a new experience of interpretation.

How did you enrich or modify the character? What did you propose?

Hugo, Mathieu [Oullion, the screenwriter] and I had tried to get Kristin to lose some of the sobering tone that was still present in the script when I got to the project. I also tried to have some situations limit the character’s decision-making capacity and push her into behaviors that would otherwise be difficult to understand.

Tell me about your relationship with Omar Sy.  Did you rehearse with him before the shoot?

It really can not be considered an essay to use: we chatted a little and we realized that it was okay not to know too much when the first scenes of the movie were rolling. Then, I loved watching him work on the set, it was fascinating! He is a born curé who works with great humility and, at the same time, in a very playful way.

And the little Gloria? How to find the necessary balance between proximity and distance?

Gloria is wonderful. I fell in love with the happiness that radiates and the ability to observe the intelligence, vivacity and speed with which I read her score, in this team and in this story, the relaxation that she was acquiring day by day and her great availability.

How does Hugo lead his actors? Is he very rigid?   Does he leave much room for maneuver?

Hugo is very precise in the direction of actors: his guidelines are usually extremely clear but, at the same time, he always proves a wide range of possibilities.

The fact of filming in London, which you know particularly well, did it help you to build the character?

I do not know if it helped me to build the character but as we were filming in a neighborhood that I know well, near my house, at least it allowed me to imagine a small part of the character.

Is this filming going as one of the most difficult it has done?

In any case, I will remember it as something very different. At the same time fantastic, because it has allowed me to meet wonderful people, and complex, because it was not always easy …

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