In the new season of In Therapy, which airs on Arte every Thursday night from April 7, psychiatrist Philippe Diane (Frederick Piero) receives a new patient every day of the week, and each session in his office is the equivalent of an episode. To take responsibility for staging these 35 (!) New episodes, Eric Toledano and Olivier Nakache called on 4 new directors to replace Matthew Vadepedi, Pierre Salvador and Nicolas Parizer: Agnes Joui (Place publique), Emmanuel Finkiel (Pain). Arno Desplechin (deception) and Emanuel Berko (in his lifetime).
Jacques Weber, who plays Allen in Diane’s “Patient Number 4,” directed the latter for his episodes. He knew the director as a distant admirer, as an actor and director and was afraid of meeting them. “I told myself he was taking me to the theater“, He laughs.
He then describes a real professional thunderstorm. “Everything happened most naturally in the world, smoothly, without embarrassment, as if it were obvious (…) I have a feeling of being in front of a real psychoanalyst and this can only happen if there is a strong text and a sufficiently modest, elegant and sensitive director to accompany it.“
He describes a sincere and direct director with whom we do not agree. “During the filming, painful moments in my life happened to me and I showed elegance, modesty … I did not try to comfort myself. Terrible, people who gnaw like loving dogs. I remember the moment when before turning I felt that I was not well, just put my hand on my thigh and said to me: “Hey, are you ready? Engine”. It was very important to me.”
Jacques Weber and Emmanuel Berko
“I feel a little lame in this adventure“, Trusts the director of La Tête Haute and La Fille de Brest, who has never worked on a screenplay that was never written and knew nothing about psychoanalysis.In my own feature films if I have a scene where two people are sitting and talking, it’s just a nightmare for me, I do not know what to do!He laughs.
With a great love for Eric Toledano and Olivier Nakache, the director says he probably would not have joined the adventure if the proposal had not come from them, those who are accustomed to solving everything on set. “I then hung up on the question they were asked: pWhy did you call me, Emmanuel, Arno and Agnes? What could we bring to a concept that was already strong enough and we did not need it?He asks.
“I was meI was nervous that I could not invent many things in terms of directing, because that is what makes me happy when I make films and I was told that they were thinking about us for the direction of the actors. That was the main issue of their proposal and we were like guests in the living room.“
Then it became necessary to find the actor he wanted to shoot, with whom he wanted to spend time. “I really do not care about the character, what I care about is the person I accept. You need to be able to deliver a character to the person I accept, and not the other way around, and that I want to say something about that person and not the character.“
A Practice Which he describes as extremely difficult and tour de force for the actors. “In cinema they never have to do text of this length. This is a work that is very similar to theater. We did rehearsals with Jacques the way we would do in the theater, doing things very precisely in focus before filming. Ultimately we are in the service of a project stronger than us.“
Eye of Haidara and Agnes Jawi
Arno Desplechin Was responsible for the episodes with the young Lydia, played by Susan Lyndon. “I was nervous In connection with the attacks in the first season. As for psychoanalysis, the theme of the series, I told myself that I would not miss it, nor would I miss Nakache and Toledano. I knew I wanted to study with these two men.“Chance of a living, the director has never worked with Frederic Piero.”Such an actor and I could not miss this collaboration.“
For the role of Lydia, the director and two showmen see a lot of actors during the casting, but Susan’s choice is clearly visible. “There is something in Lydia’s story about melodrama, the issue of tears. I thought of Japanese filmmakers like Mizoguchi or Naruse telling me that it was something that would help me establish this relationship between the analyst and his patient, avoiding the tempting relationship, the fatherly relationship, and perhaps closer to the relationship. Friendship.“
“Watching Arno lead the cast taught me a lot about my acting and what a director expects from someone in particular, as well as how he gave himself a passion. “Actor”, – the actor notes.I feel like he did not have a clear perspective on my character therapy and I think we found out how we went about therapy together. It was very liberating for me to see that there was no right or wrong answer, just the direction we took with Frederic Piero.“
“The range that we were able to meet as directors, to see the needs of this level, the cynicism, the exchange that we were able to meet with each director, is an incredible luxury for us.– concludes Eric Toledano.
Source: allocine
Camila Luna is a writer at Gossipify, where she covers the latest movies and television series. With a passion for all things entertainment, Camila brings her unique perspective to her writing and offers readers an inside look at the industry. Camila is a graduate from the University of California, Los Angeles (UCLA) with a degree in English and is also a avid movie watcher.
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