Given your experience with the Belgians, if you were asked to resolve a conflict between the Flemish and the Walloons, which character would you choose: Jacquouille or Asterix?
“Neither one nor the other. It’s too complex. Resolving a historical problem between Charles V and Charles the Bold is complicated. Just like between the Flemings and the Walloons!”
Is the character of Dr. Béranger in your new film also complicated and complex?
“He must manage everything with gentleness and a superficial smile, but remaining very manipulative. I have often played fathers without a filter, but here, it’s quite the opposite: everything is subtle and measured. A joy. “
Did you consult real psychoanalysts or do any research to make your role credible?
“I stuck to what I thought about it myself, internally. He must remain distant from his emotions, but here, he cannot do it. He is a psychologist who, ultimately, would have himself- even need a psychologist!
How was your collaboration with Baptiste Lecaplain, alias Damien Leroy, this particularly anxious and invasive patient?
“This young generation of thirty-somethings is fantastic. They all bring a great dynamic, full of freshness and passion, to reach the public while having fun. From films like “The Teachers”, “Babysitting 2″ or the first ” What the hell have we done?”, I’ve gotten into the habit of sharing the stage with this new generation. It’s fascinating.”
How does the humor of today’s youth differ from that of previous generations?
“I don’t think there are that many differences. They appreciate the same things. Otherwise, they wouldn’t be as happy touring with me (laughs)! The transmission continues. At the time, I didn’t feel so different from Poiret, Serrault or even Jacqueline Maillan And today, I don’t find that this new generation is very different from me.”
After so many years of making others laugh, what, personally, really makes you burst out laughing?
-“Laughter cannot be controlled. That’s what’s magnificent. So, I simply laugh when it’s funny!”
Like the hidden cameras of our compatriot François Damiens, which show to what extent humor relies on a well-played performance?
“Yes, they’re fantastic! It’s a laughing matter. They say he’s shy by nature, but I don’t think so. I played with him. He’s a personality!”
Do you think that the theatrical experience still has an essential place in film consumption, or is this increasingly reserved for blockbusters?
“The entire cinema industry is returning to theaters. Producers have lost a lot of money with the platforms.”
And you, have you changed your habits as a spectator?
“I like going to theaters, but I rarely do it because the notoriety complicates things a little. I perceive cinema differently because of my job, but I watch films every day. As long as it’s good, I I’m fond of all genres. I particularly like stories that have a bit of substance, where we talk about people or characters.”
You have been on stage in the theater for thirty years. Does the idea of repressing them torment your mind?
“No, I’m not thinking about it at the moment. In the theater, you have to want to play for a long time. That’s not my case at the moment. I don’t like the routine that sets in, and It’s very complicated for producers to put on a play that would only be performed for a short period. Cinema, on the other hand, is a profession of energy. That’s where I find myself.”
