The show from Wednesday in the first year of TF1, La Véritie on the case of Harry Quebert is a mini-series event in more than one way. This is, of course, the adaptation of the eminent Joel Dicker, but also the first series of Jean-Jacques Annaud, the director of the cult Name of the rose and the bear, and finally, his return
Patrick Demci. Like Meredith, France fell in love with the character of Derek Shepherd, the apt name Dr. Mamour, in The Anatomy of Gray.
After his amazing start in the series, the actor chose a project in French DNA but shot English in Quebec for his return to television and his interview in 20 minutes.
After many years and roles on the stage and on the screen, he became Prince's Hollywood Charming and Ideal Son, what happened?
Oh, I do not really know. But I had many years of difficulty, I was an actor who worked for food, like many others. It is often said that it takes ten years to pass, and that is what happened to me. The planets are really aligned with The Anatomy of Gray : A great cast, a great music, great writers … The episode of eight episodes in the first season, my life has changed literally and deeply. I was rather fortunate to be falling slowly and not early in my career. I was able to understand and appreciate the moment.
Your departure from The Anatomy of Gray it was tough for your character and for the fans. And for you; There were rumors of tension behind the scenes.
The Anatomy of Gray represents a large part of my life, more than ten years. As an actor, you're never sure to go back to work. But it's time for me to talk creatively. I think I stayed a long time in the series. I should have left a year earlier in the 10th. Derek did not change anymore. I know the fans were shocked, but it's time to leave.
And Dr. Mamour is a Shonda Rhimes character. I was neither a creator nor a producer, I did not have a reason. I could only incorporate it in the end. Although I have dropped a different end. But it is like this, it is life. As for the tensions, I will speak more passion. There is always feeling in a series that lasts for so long, but there has never been a talk about me, always stories.
It was five years ago and since then you are very quiet. Do you spend your life racing?
I needed new challenges. I wanted to concentrate 100% on the race, to reach the Le Mans 24 Hours podium, which I did, and to run for an entire season of the FIA Worldwide Championship. At 49, it was the moment or never. At the same time, we produce documentaries, take care of the foundations for cancer patients, spend time with my wife and children. I needed to recalibrate my life, my desires.
What made you decide to come back to television in a series?
I accepted the work with the unique name of Jean-Jacques Annaud, whose work I admire. I realized it was an adaptation after that, I did not know his book
Joel Dicker. It is less popular in the United States than in France or Europe. I downloaded it and did it during an airplane trip. Then I had to read it four or five times. I have pointed him everywhere, he was assimilated and went aside.
Harry Quebert, whom you play, is not the main character …
I do not care if he is not the right hero, he remains a dynamic character, mysterious and very different from what I could play. To me and to the public. Only natural transformation was a nice challenge in itself. I sat five hours a day sitting in the makeup, allowing me to see myself aging and thinking about his own old age, his own mortality. I put myself in the character, I thought the scenes, because once in the set, we turned very quickly, with three cameras, in one or two gets the most. Working with a teacher like Jean-Jacques was really a unique experience.
How did your collaboration work?
We did not talk much about the script and the character and much more. (laughs) The current is directly between us. He is very meticulous in his preparation. He flown the ten episodes in one go and returned his copy in time and under the initial budget. It's very rare in business. Once the intention of this scene leaves a lot of freedom to the actors, it is very liberating. I have never worked like this before. Slightly in the picture, analog, jazz players.
CanneSeries was presented by Jean-Jaques Annaud Harry Coubert such as an eight-hour film, not a television show. Do you agree?
Oh; I think the series offers writers and directors the chance to tell a long story, not just the traditional 90 minutes. The format is different, but the shapes are evolving, the ways to watch a movie or a series too. In my opinion, the best stories are now on TV, because independent films are hard to process, almost exclusively motion pictures. I also believe that a good story always finds the way, whatever it is, to the viewer.
You have a special relationship with France …
A unique relationship, you can say. It began in the 1980s when I first came. I read Hemingway, Scott Fitzgerald and all the Lost Generation writers who came to Paris. I wandered about dreaming of playing French movies like About midnight Bertrand Tavernier or diva by Jean-Jacques Beinex. Le Mans is even more special, this city has changed my life. For me, it's like being at home, especially in the countryside. From 24 hours to Harry CoubertI enjoy France some of the best moments of my life. Just to talk about it, I'm excited [il a les larmes aux yeux].