INTERVIEW – Master of the absurd, the Belgian actor deploys all his art in A bear in the Jura, an astonishing black comedy by Franck Dubosc.
Benoît Poelvoorde is a singular being. An actor without snobbery or preconceptions that fame encumbers, a man whose irresistible humor conceals an obvious fragility. His humanity and naturalness imprint the film. As proof, his new role in A bear in the Jura, by Franck Dubosc, a caustic Christmas thriller about a couple in dire need (Dubosc himself and Laure Calamy) who steal 2 million from two strangers who died on the road while trying to avoid a bear. The Belgian actor plays the village sheriff, in charge of the case and experiencing personal difficulties with his teenage daughter and her ex. From his flat country, he looks back on this offbeat adventure and talks about his career.
Madame Figaro. – This film marks a break in tone for Franck Dubosc. Were you surprised when you read his script?
Benoît Poelvoorde. – I had a vague idea of Franck's universe and, in fact, I wasn't expecting that. But during our first meeting, he told me he had an image that didn't really match him: that of the handsome comedian, which he also played in his early days. These are never just preconceptions, but I think he suffered a little from it. When you're an actor or actress, having an attractive physique or a joker image can be burdensome, and I think he wanted something else, to cover his tracks. This is what he does with this film: it is an exercise in style in the manner of Fargo of the Coens, with a slightly brutal humor, grotesque situations.
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Which actor's director is he?
Very demanding. He has a little music in mind and, like an orchestra conductor, notices the slightest laziness in the musicians. You have to get in tune, and it's not only done elegantly but it's also very rewarding to work to find the right note.
Who was Laure Calamy's partner on the set?
She is adorable and very funny. We were Franck's two turbulent children. In general, actors like being with actors, but with Laure, I had found my best friend. You can only have fun with her, even during takes. She takes such pleasure in the exercise of her profession.
Like Franck Dubosc, have you ever felt typecast in this profession?
Very often, but I was more easily given the chance to make more serious films, to explore other territories. I owe it first of all to Anne Fontaine. I was in the “Guignol on TV” category until she thought of me for In his hands. I didn't see myself in this register at all, but she insisted. On the set, I bothered her like a diva, I balked at the obstacle. But she and Isabelle Carré, my partner, taught me to trust myself. That said, even today, I often ask myself “Why me?” when I am offered a role.
I was in the “Guignol on TV” category until Anne Fontaine thought of me for In his hands
Benoît Poelvoorde
Where does this taste for the absurd come from, which also made you popular?
At a very young age, I read books that perhaps weren't for me. I don't like to say that, but I also believe that Belgians have a laughing side, about very stupid things. Our humor is closer to that of the English, it follows fewer rules. This is what I criticize French comedies: they are sometimes too codified and struggle to renew themselves. This is also why Franck's film is successful: it explores other avenues. That said, it's difficult to talk about humor, to theorize it. I remember one day doing a show on the subject. It was sinister!
Is there a challenge that you haven't dared to take on on screen?
I have a lot of trouble with scientific terms. They worry me so much that I once refused a film where I had to play a surgeon. I could have learned to pretend to butcher a body, but remembering the name of the operation was too much. I don't see myself playing vigilantes, muscle-bound roles like those of Gilles Lellouche! Me, as a hero, the public wouldn't believe it. It's good to know your limits.
You have sometimes said that you feel out of place in the cinema world. Is this still the case?
Yes, and that probably harms me. In this profession, it is difficult to have one foot in and out. As a kid, I enjoyed the free lunch and beer, but that only lasted for a while. I don't like social life… Gang spirit and corporatism bore me. Besides, most of my friends are not in the cinema and never talk to me about it. I look at cinema as a profession, with the eyes of an artisan, I don't sacralize it. I am a free electron and, as I get older, I have the impression that the phone that no longer rings syndrome is threatening me.
I don't like to say that, but I also believe that Belgians have a laughing side, about very stupid things.
Benoît Poelvoorde
You are exaggerating. Didn't you appear in Pascal Elbé's next film?
Yes, and it will be very funny. It's called The Good Star, I play a deserter who passes himself off as Jewish to reach the free zone with his family. I had a lot of fun but such films are rare and I am more picky. I refuse a lot.
What about the writing and directing?
She’s my Arlesienne. I am on the seventeenth version of my play. I procrastinate by pretending to be a perfectionist, but above all it's an escape from never getting anything done…
You turned 60 this year. How do you view the progress you have made?
“All that for that.” This is what I tell myself! I would also like to one day allow myself to retire. I so envy the lives some of my friends lead. But every time I say “I quit,” I feel guilty and go back to it.
There are a lot of films where I don't feel like I'm working
Benoît Poelvoorde
No doubt you still like this job a little…
It's true. When I get going, I'm delighted to be there! And there are a lot of films where I don't feel like I'm working.
A bear in the Juraby and with Franck Dubosc, Laure Calamy, Benoît Poelvoorde… Released January 1st.
