For his first-long métrange, the DAUGHTER OF THE BOSS, Olivier Loustau reveals a unique look at the working world. Between film and social history, of love, and in which it also holds the first role. At her side, Christa Theret, revealed in 2009 with the popular comedy LOL, interpreter, Alix, in charge of studying the working conditions of the workers in the factory of his father. It begins with Vital (Olivier Lousteau), one of the workers, a loving relationship brings their two worlds. On the occasion of the release of the film, we had the pleasure of meeting the actress. For us it unfolds, reflects on his journey with a degree of maturity, as well as on her character in which she finds herself sometimes.
To read also our review of the movie THE BOSS’S DAUGHTER.
You started the film fairly young, and you have decided not to go until the end of high school, not to move your tank, for you to devote to the cinema. It was a bit dare not ?
– Christa Theret : Yes, at this age there is bound to be a little reckless. In fact the film was made almost by chance. I was spotted and I am not so thoughtful. It was an opportunity that makes you dream. And when it was, it takes.
Suddenly you’ve had your first success with LOL. Is it that it has changed something this “success” ? Professionally as in your personal life ?
– C. T : In my personal life not really. I try not to be an actress in my life. Yes, there was a success, but if we want to stay simple it is. After professionally necessarily it helps.
Recently you were in a big success, for a second role in Margarita. With THE BOSS’S DAUGHTER, you’ll find something tighter, more intimate as could be Renoir. Y-a-t-a movie to which you go more ?
– C. T : I think I’m still rather attracted by a film, say, copyright, where you can have a depth in the storyline, with multiple possible readings. It also passes through the image, the processing of the frame and the camera. This is something that interests me a lot the image because I want to make a short film that I have written.
In THE BOSS’S DAUGHTER Olivier Loustau, therefore, has a dual role ; producer and actor. It was complicated for your benchmarks ?
– C. T : Yes, it is always a little difficult. When we play, there is not necessarily the distance needed to understand the tone. With him next, it was bound to be a little alone. So we her taken before it to go looking at the combo and make adjustments.
Was there a difference between the Olivier Lousteau director and the actor ?
– C. T : Good, this was not Dr Jekyll and Mr Hyde, with a transformation really noticeable, but obviously yes when he was behind the camera, he was more available for management. And when we played together we had to find something for two, which was interesting.
To the extent that it is first and foremost an actor and he has a lot turned. Thou hast felt in his leadership ?
– C. T : Yes, in fact it has toured extensively, with Kechiche. And he had a way to link the sockets, a bit like Kechiche, leaving a part in the improvisation. It is well I find. I love when the director leaves the camera running. This allows you to be immersed in the decision. We even forget a little bit the camera to force, and it promotes the natural.
Your character, Alix, who starts a relationship with Vital, is interesting because it is never shown in a negative way. It is not the cause of the problems of a couple of Vital for example.
– C. T : In fact, there is a weariness in the couple of Vital and Mado (his wife). It is present before the arrival of Alix, which may be just the way to open to something else for Life. The coup is a character that is strong enough. This is not the character of the mistress. This is a detail that comes from our evolution with time. Before, she would have been the manipulative one, the small young sexy who just pervert man. We evolved on it, fortunately ! Suddenly we find ourselves especially with the meeting of two beings. This is not seen under the prism of the evil, nor the prism of men.
“Alix is serious. True, I’m a little more trash.”
You have things in common with Alix ?
– C. T : On some points yes. I love Alix. I am found in its simplicity. This is someone quite human, and generous. It comes in the factory to help the workers by facilitating their work. After, me I do not come from a wealthy family. It has something a little more strict and serious than me. Therefore, it was necessary that I work this side. Whether I’m right then that’s true I’m a little more trash.
It gives the film something very true, a certain simplicity. The ultimate is perhaps in this scene where you eat pasta with Vital, just after having made love, both of them still naked.
– C. T : This scene was improvisation and rightly so. In fact in the text he needed to talk to me about my mother and I explained to him that she was dead. But it was a bit too much pathos. Suddenly they cut the scene written to keep the passages improvised. However, this does not mean that it was done quickly. We followed a lot of taken. And this is what I said, leaving the camera running you eventually forget about it.
This is where it really does feel like the complicity between you and Olivier Loustau. Can you tell us about that ?
– C. T : In the movie there are human encounters. There are people we like more or less. And as an actor one must sometimes force it a little. Because playing with someone with whom one does not agree, it is hard. So it must be a bit of a hypocrite sometimes. But with Olivier it was not, it is really of course. And I think that it is this natural relation which serves the roles.
Your relationship is special since it is the meeting of two classes. But there was also a significant age difference. You thought about this difference ?
– C. T : Is the reading of the scenario, yes, but during the filming no. In fact, Olivier, like his character, has a very young in his head. While me and the character of Alix, it is mature enough. And with the complicity that we had together I was not too embarrassed. Good of course the love scenes were annoying, but as any love scene in the film. We have the same age or not, it is never obvious.
Finally, THE BOSS’S DAUGHTER this is for you more a love story or a movie social around the world of workers and their daily lives ?
– C. T : A bit of both I think. It is a love story in a genre that is social. You can’t put it in a box. Moreover, he did not put himself.