François Damiens: “What I like is making films that scare me”

In Sous le vent des marquises, he is shocking as an actor who, ill, leaves the set of the film where he was to play Brel to try to regain lost time with his daughter. Encounter.

How did you react when Pierre Godeau spoke to you for the first time about Under the wind of the marquises and of this role of actor who, learning that he is suffering from a serious illness while he begins a filming where he must play Jacques Brel, decides to leave everything behind to go to Brittany to spend time while his links with her have become distended over the years?

François Damiens: My first instinct was to tell myself that if it talks about Brel, I definitely shouldn’t go there! (laughs) This is one of the figures that you should definitely not touch. So I was very scared, even after understanding that it wasn’t a biopic but that I had to play an actor playing Brel. Because it was then a question of me singing. I had no desire to be shot with a Kalashnikov! (laughs) Pierre heard that very quickly. And from there, apart from playing an actor playing an actor, this story quickly resonated with me. Under the wind of the marquises speaks of freedom, of cowardice, of the denial of illness, of this utopia of wanting to make up for past time which is lost forever. I liked the modesty with which Pierre deals with these subjects.

So this acting role immediately spoke to you?

I see this on my very small scale. When I go on set and come back two months later, I have the impression that a hole has opened up between my family and me. Because they are obviously not going to put their lives on hold for me. I remember when I started, I wanted everyone to be there the day before I left and when I returned. But I understood that I couldn’t demand that of them, impose my schedule on them. We often hear actors regret not having seen their children grow up. But no one makes a career by staying in the kitchen and no one can catch up with the passage of time. Benoît (Poelvoorde) once very rightly said that we were not paid to make a film but to not be at home. I think about that often. So I try not to make too many mistakes when I choose a film. Don’t leave for two months to do something that’s not really necessary.

How do you choose your films?

I have an agent, Laurent Grégoire, who is not the worst… (laughs) But what I really like is making films that scare me. I often read scenarios where I immediately see that I have already done that. And I always think about the spectators, I don’t like hostage situations, I don’t want to take an hour and a half of someone’s life to show them something they’ve already seen. Bruel said “it is urgent to be reckless” and I completely share his opinion. We don’t die from failing!

How did you build your character?

It just happened. Pierre (Godeau) is already a very gentle person, very attentive. And he behind the camera, like us in front, tried to bring everything back to simplicity. I think I have never played so little as against Salomé (Dewaels) who plays my daughter so brilliantly. We just had to look into each other’s eyes to understand each other. Especially since Pierre managed to write with great lightness the heavy situation between this father and this daughter. We are never in pathos. We played a lot with silence to experience this long time of the distended bond.

How did you experience this day of filming where your character steps into Brel’s shoes?

It was really a very special day for me because I had sailed all day: I had brought, from Lorient to Saint-Malo, a boat which was doing the Route du Rhum. Then I drove all day to the set as we were shooting at night. So there, I really thought I was Jacques Brel! (laughs) We started at 2 a.m. and finished two hours later. It’s one of my fondest stage memories. It was quite enjoyable.

Is practicing sailing regularly a quest for freedom for you?

Completely ! This is why I appreciate Brel. I share with him this feeling of going towards the unknown and feeling free. At sea, no one tells you what to do. You are the one and only responsible for yourself and your boat crew. You who must feel either capable or not of making a crossing. In a world increasingly restricted by rules, that is priceless!

Leeward of the Marquesas. By Pierre Godeau. With François Damiens, Salomé Dewaels, Roman Kolinka: Duration: 1h31