"That's none of your business."
The tone is devoid of aggressiveness, but firm.
If Mélanie Thierry could do without meeting journalists to do promotion, we guess that she would see no inconvenience.
The question was about his relationship with his brother.
It sprung up during a discussion on the family since
The Real Family
is only about that.
In Fabien Gorgeart's film, Mélanie Thierry plays Anna, wife and mother of two little boys, who is also raising Simon, a child placed with her by Childhood Social Assistance since the age of 18 months.
One day, when he was 6 years old, his father decided to regain his custody.
A heartbreak for Anna and a golden role for Mélanie Thierry.
“I very quickly identified with this mother.
The fact of being out of confinement could play a role.
The scenario crystallizes something of the family.
Without pathos, we will not trowel for tears.
The father is not the last of the bastards who beat up his kid.
He's fragile and clumsy, he's a good guy."
Well, the rest is none of our business.
However, Mélanie Thierry will agree to talk about something other than her character, without departing from a mixture of defiance and modesty.
For example Gaspard Ulliel, film partner and close friend in life, who died tragically a few days earlier.
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Mélanie Thierry, maternal moment
“For
La Princesse de Montpensier
, Bertrand Tavernier did this magnificent thing of bringing together a young troupe of actors,
remembers the actress.
Gaspard, Raphaël Personnaz, Grégoire Leprince-Ringuet… There was the old guard around Tavernier, his producers, his technical team united like a family, and us, our twenties.
We were all aware of shooting with a great director, happy to be there, both disciplined and the first to do the java in the evening because we were young.
We didn't go to bed with herbal tea because we were filming the next day at 6 o'clock.
From there was born a very strong friendship.
I thought we were going to grow old together.”
I am 40 years old, the Lolita seems very far to me.
Before, that's what I inspired, I couldn't go against it.
I did with.
It's my face.
When you look at me, you see the little girl that I was.
Anyway, I see it.
And I avoid it
Melanie Thierry
Mélanie Thierry and Gaspard Ulliel had in common to have started to shoot children.
For her, at 13, an advertisement for a frozen brand.
His first line in front of a camera:
"I want chicken."
"There's a beginning for everything.
It got me dragged into the playground.
They called me Findus!”
The teenager made a start of second at the high school of Sartrouville (Yvelines) before stopping at Christmas.
Model, she leaves for a road trip to California with fashion photographer Peter Lindbergh, at a time when we do not talk about consent or #MeToo.
“My parents trusted me.
It was quite innocent.
Lindbergh was kindness itself.
I loved him madly, I loved taking pictures with him.
I thought that this whole period was just an enchanted break and that I was going to return to a more ordinary life.
I have never seen very far.”
She has however come a long way, chained the roles, won a César for best female hope in 2010 with
The Last for the Road
, and managed to make people forget her round cheeks and her small size.
Even if, even today, Fabien Gorgeart explains that
"her youthfulness enriches Anna's trajectory"
.
The subject annoys him.
“I am 40 years old, the Lolita seems very far to me.
Before, that's what I inspired, I couldn't go against it.
I did with.
It's my face.
When you look at me, you see the little girl that I was.
Anyway, I see it.
And I avoid it.
Lucid and modest
Spike Lee did not avoid her as he chose her for
Da 5 Bloods
, his Vietnam War film, after an audition in Paris which involved performing all the scenes of the film in eight minutes.
“On set, Spike Lee is sharp.
You have no interest in planting yourself.
He makes a catch, you have to be ready and efficient.
It amused me a lot.
I don't think it's his greatest film, I have a little distance from what I do.
But it's fascinating to work with him.
Like with Terry Gilliam.
I would have preferred to play in
The Army of the Twelve Monkeys
rather than in
Zero Theorem
, but these are filmmakers who have invented a way of making cinema.
Lucid and modest, Mélanie Thierry met Spike Lee in Cannes, where she chaired the jury of the Camera d'or, which distinguishes the best first film of the festival.
She rewarded
Murina
, of the Croatian Antoneta Alamat Kusijanovic, a film on the family (well, well).
“We saw thirty-two feature films in a fortnight.
It was exciting and moving to see all these films from all over the world.
We took a benevolent look at the work of these novice directors.
It's so hard to make a movie."
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Mélanie Thierry: "We don't care, singing out of tune"
She herself made a short film a few years ago for Adami, based on a short story by her husband, the singer Raphaël.
Again, she is uncompromising.
“He failed.
I should have written it better.
It was too ambitious, I tripped over the carpet.
I prefer to let the filmmakers make beautiful films rather than to work hard behind the camera.
Or beautiful series, such as
In therapy
, by Nakache and Toledano, where she plays, in the first season, Ariane, the surgeon in shock after the attacks of November 13.
On the other hand, she does not have a theater proposal on the horizon, where she was successful (
Le Vieux Juif blonde
,
Baby Doll
) and the oven, in 2015, with
Anna Christie
, by Eugene O'Neill.
“It was about a shipwreck and we took it in the face.
The public did not come.
Modesty does not exclude frankness.
E.
S.
Our opinion
It must be called grace.
Last August,
La Vraie Famille
, Fabien Gorgeart's second film, left the audience at the Angoulême Festival in tears.
After
Diane has the shoulders
, in 2017, the director continues to explore the family unit.
It depicts a 6-year-old boy placed in a foster family at 18 months, but who will have to leave Anna, his surrogate mother (Mélanie Thierry, incandescent) to live with his biological father (Félix Moati).
If she first deceives her, Anna can't stand this heartbreaking separation.
Social services had warned her: “
Love this child, but don't love him too much.
The pain is on both sides.
Gorgeart, who tells a bit of the story of her family, modestly films the excesses of a “wolf mother” overwhelmed by her role.
Tense, warm, treated like a thriller when Anna refuses to part with the child, the film hits the mark, without ever bordering on melodrama.
OD
