Playing in front of two women
Benjamin I could
“It’s good to play brotherly and paternal love, staged by two women. We dodge a lot of clichés about men. I don't know if the film would have been interesting if it had been directed by two men. It might have been more trivial. Personally, I like the meeting of genres through the camera, some in front, others behind, and this excited my interest in the project. »
Being filmed by a duo
Stefan Crepon
“The two times this happened to me, for First Wednesday of the month of Melody Adda et Adrien Rose, short film very pretty and tender, and for Play with fire, the two filmmakers shared the task very well. One closer to the actors, and the other closer to the technique, and they alternated. In any case, the Coulin sisters alternate. They know how to take on different positions very well. We don't receive too much or contradictory information at the same time. They manage the whole process very well. »
The red color code for Félix (Benjamin Voisin)
Benjamin I could
“When I was filmed for key moments of my character and he was moving, he was in action, I strongly felt the red near me. Whether at the level of the curtains, or even in the trial scenes. There are many moments where red is leitmotif. Donc, on gets caught up in the game, you think you are a bull, you have the impression that you are helped by the blood behind it, and that playing something very heavy is easier with the color which will make the tension rise even more. emotion that we are conveying. But all this is because I'm a little crazy, and I'm aware of things! A lot of actors don't care at all and it works without it too. This reassured me about the Coulin sisters. I told myself that they knew precisely where they were going, and what they wanted to do with my role. I could remain very calm, without fear of ridicule, and go and experiment with lots of things. »
François Ozon, joint filmmaker (Summer 85 / Peter von Kant)
Stefan Crepon
“When Benjamin was filming Summer 85we talked a little about François, I learned what he was like, but above all I was able to meet him. So I knew him a little in life before working with him. »
Benjamin I could
“And François thought of Stefan for the role of Karl in Peter von Kant by encountering it in everyday life. I'm not even sure if anyone told him to see Stefan for the role. François is very close to his actors. We are very friends with him, like many of those who worked with him. He has such a strange, pleasant way of shooting, it goes so quickly. We don't really know when it turns or not. Fifteen days of filming makes no sense. Filming with François doesn't make sense. I actually remember telling Stefan a lot of things, and later his joy at collaborating with François, at seeing the whirlwind. It's good that there was one to clear a little, and tell the otherWell yes you have the opportunity, go for ite ! ». Just like Stefan and, it is pense, trI want to shoot with Xavier Giannoli, and I really want to shoot with Cédric Kahn. »
Whether or not to be confined to a job
Stefan Crepon
“We can sometimes sense, when we receive a proposal, whether it is an obvious choice, because the filmmaker has already seen one or another of our projects, or whether it is a curious choice. There, we tell ourselves that the person wants to take us elsewhere. In both cases, the proposal can lead to an interesting collaboration. »
Benjamin I could
“I don't know how I did, but I'm very happy with everything. Sometimes I'm surprised by some propositionsand I can see producers fighting to make it happen, even if it means losing money, compared to a choice of actors who could do it better. I am very happy with what is happening to me and that there are people who have the curiosity to take me into universes where, in terms production, it would be easier with other actors. Maybe they think they can win something more interesting, and that's like an honor for me. And I'm happy not to make the same film every time. »
