Marina Foïs comments on her filmo: Dad or mom, Polisse, Mission Cléopâtre…
The infernal Montparnasse Tower by Charles Némès (2001)
“In fact, my very first role, it’s not the slut of Montparnasse tower, but a prostitute deported to Quebec in the 16th century in a Quebec series directed by the local Josée Dayan! Apparently, this series is quite well known because Xavier Dolan told me about it! I started getting film proposals after doing a Robins sketch at the Césars when we were still on the channel. Comedy!. My name was Romy Schneider ‘with a z’ and I was going through a casting. It had a certain impact I must say. But Eric and Ramzy, it was different, I had known them forever since we were there by chance with the Robins the very first time they went on stage at Au Bec Fin, a 3.5 m2 and 1 m 20 high ceiling. We thought they were brilliant and we went to tell them. We’re shooting the prequel to Tower in March !”
Eric Judor: “Our job is to give people humorous punches”
Marina Foïs comments on her film: Asterix and Obelix: Mission Cleopatra by Alain Chabat (2002)
“A set always resembles its director. With Chabat, the hierarchy does not exist. It was a monumental shoot with 650 extras but Alain never lets himself be crushed either by the machine or by the gilding. People fantasize a lot on the ‘Canal spirit’ For me, the particularity of those years was the ‘horizontality’. Lescure addressed Gildas in the same way, me, David Bowie or the camera trainee. Chabat, the same These are guys who give you the impression of working with bits of string while they manage millions of employees and budgets. Compared to the controversy launched by Maraval on the production of French films, I am for consistency. And morality and discipline, of course. That everyone, and not just the actors, ‘rinse’ themselves when there are the means, that’s not a problem for me, provided that the priority remains the production of the film. If the salaries suffocate the production, it makes no sense. The reality is all the same that the fees adapt to the budgets of the films. And I don’t know an actor who doesn’t give up his money if it comes to making a great movie.”
Alain Chabat talks about Asterix: “Even if it looks like a mess, it’s still a bit precise”
Marina Foïs comments on her film: RRRrrrr!!! by Alain Chabat (2004)
“The idea for the first crime against humanity came from Maurice (Barthélémy). With the Robins, we wrote a screenplay which was what it was and which we rewrote with Chabat. This is the second time that I found myself on a set with Depardieu, for whom I have infinite love. Circumstances meant that while we were filming together, things were happening in our respective lives that resonated with each other. I shared with him conversations that I’m not ready to forget. I remember that nobody laughed at the previews of RRRrrr!!!, it was horrible. The film was massacred, the press was disgusting. I felt like I was going back to fourth B and being sent to the picket line. I passed my baccalaureate by correspondence, I left school early on purpose so all that is not for me. Since then, I have never read any reviews, good or bad. We still had 1.8 million admissions. Today, lots of kids talk to me about the film, as if it were funnier now than when it came out!
RRRrrr!!! : The crossed lines of the crazy comedy
A Ticket to Space by Eric Lartigau (2006)
“I knew Lartigau (his companion, director of The Aries Family) when he was making the pre-credits of Robins on Canal. During the filming ofA ticket, I was playing at the theater and we had just had our first son, as much to tell you that I have almost no memory of it. But on The man who wanted to live his life, I know I was boring because I couldn’t forget the bond we have in life. I waited for his approval, I called him in the evening to ask him if he was happy with me when I never needed a director to tap me on the shoulder to ‘validate’ me. However, we are not at all a fusional couple. He doesn’t make movies for me. It doesn’t matter because I don’t have frustration as an actress and he has access to the actors he wants, so it’s not a matter between us.”
Marina Foïs comments on her filmo: Darling by Christine Carrière (2007)
“The film took four years to put together. Christine chose me when I was still at Nowhere else. She was looking for a fat girl, she couldn’t find it. His co-writer advised him to meet me. I had read the book when it came out and for me Darling, it was like Simone Veil, I felt like I understood her better than the others so it was almost normal that they called me to take the tests. , which I also royally messed up. I must have gained eight kilos in two months. Unlimited pastries in the morning, at noon starter-main course-dessert, at 4 p.m. a 2500-calorie food supplement for the elderly who no longer eat, in the evening starter-main course-dessert and before going to bed, if possible a bowl of peanuts . I sat down to eat, I wanted to cry! It’s a very important film for me. The first week, I was paralyzed, I didn’t feel up to it. After Darling, I never again trembled on a set. And then I never had a problem of etiquette thanks to the film since I had been chosen while I was still doing the Robins. I never had to prove that I could do anything else, it’s the miracle of my life!”
Marina Foïs comments on her filmo: Maïwenn’s actresses’ ball (2009)
“I didn’t know Maïwenn. One day, she called me: “Do you want to act in my film? ” – ” OK “. It was for his first, Excuse me. “Can you come on Friday? » – « No, I repeat. – “Then come at midnight” – “Ok, is there a scenario?” » « No » – « OK » and it was gone. We said yes like that, very naturally. Then she took the trouble to call me to let me know that she had cut my scene. For The actresses’ ball, I inherited the theme of cosmetic surgery that another actress had finally refused. Maïwenn had asked me: “Do you mind a botox session? Me, I didn’t care. What’s funny is that Maïwenn manages to give the taste of the real with the fake so much that a lot of people have asked me for the address of my dermatologist! Maïwenn rid me of a certain know-how that I had acquired with experience. She sees through people, she has a gift for extra-lucidity, she will never be fooled by what might look like technique.”
Marina Foïs comments on her filmo: Happy Few by Anthony Cordier (2010)
“I had just acted in Christophe Honoré’s film, No, my girl you won’t go dancing, so I knew the producer, Pascal Caucheteux. Very clever, he calls me: “I’m going to send you the script for a film that you won’t do, because I understand very well that at certain stages of your life, you don’t want to do certain things! » Obviously, I had only one desire: to do it. Sex scenes weren’t a problem for me. Anyway, we were shooting one every two days then? I didn’t ask myself the question of whether I was capable of it because I’m still convinced that I’m not afraid. Which is wrong, of course. When Chabat did Didier, he said that on the first day of filming, he had arrived naked on the set while making the presentations: “So here it is: the team, my dick. My dick, the team. And that was it. There’s something like that that happens when you’re spinning. Happy Few freed me and gave me lightness for at least a year.”
Poliss by Maïwenn (2011)
“On the first day of filming, Maïwenn arrives: “Okay, improv is over. Now, we are serious, we have grown up. Me, I wrote dialogues, we stick to it! » OK, no problem. Except that at the first line that looked like a learned text, she broke everything: “Well, ok, you get the idea, so say it differently! » She can’t help but search for the scene as she shoots it and manages to make it slip away from us. That of our Homeric argument with Karin (Viard) in the police station is a good example. Everything Karin said was written but in the end, I think it came out a bit out of order. For me the accuracy of the scene lies in the back and forth. Maïwenn found that while filming, she kept telling Karin “Come back, come back” It’s like in life, you don’t finish your scenes, it’s messy, deconstructed. There is a real misunderstanding about Maïwenn. People think that she “steals” stuff from actors, that she leaves them in the dark, but no, she’s complicit with us. Manipulation is the weapon of the weak, it is much stronger than that! In the end, I think there’s more thinking about her than instinct.”
Polisse, by Maïwenn, has a heartbreaking drive for life (critical)
Ball and Bill by Alexandre Charlot and Franck Magnier (2013)
“The role made me laugh and I had never played in a children’s film. There was real ambition, I had a blast with Dubosc and the high-waisted pants. If there are films that I forced myself to do, it’s not the ones you think. I can’t accept films yet because I bought an apartment but I understand that it can be a reality.”
Papa or Maman by Martin Bourboulon (2015)
“Bourboulon has the same background as Lartigau: advertising, the Guignols on Canal +, and the cinema. I liked the transgressive script. We have all been confronted at one time or another with family burnout. rush to fill the fridge, there is nothing less sexy. We do too much management in life, it eats fantasy and ass. I like excess in comedies, they must be a outlet. A cancer at the movies will always be funnier than a cold. And then there was Lafitte, a lifelong friend. What I love about him is that like Lemercier or Lauby, he has an elegance that allows him to make the worst jokes without it ever falling into the gutter, unlike me!”
