2012 - Assassinée
Runtime: 90 min.
Director: Thierry Binisti
De film werd geproduceerd door Ramona Productions of Olga Vincent and Jean-Pierre Alessandri.
Hij werd uitgezonden op France 3 op 15 Mei 2012.
Patricia Kaas - Cathy
Serge Hazanavicius - Richard
Raphaël Boshart - Laurent
Marie Vincent - Marie
Jonathan Cardonnel - Eric
Annaïs Tellenne - Clara
Jean-Paul Comart - Kapitein Morand
Nicolas Jouhet - Simon
Clara Brajtman - Eva
Cathy(Patricia) gaat de 20e verjaardag van haar dochter Eva vieren. Eva zal naar de medische faculteit gaan en Cathy is heel trots op haar.
Cathy is gescheiden van haar man Richard, een bakker.
Op de verjaardag van haar dochter krijgt Cathy het nieuws dat Eva is vermoord.
Het artikel uit de TV Magazine - Nov. 2011
Hoe heb je jezelf voorbereid?
Ik wist helemaal niet zo zeker, dat ik deze film zou kunnen doen.
Ik had een coach die me geruststelde en me vertelde, dat ik het kon doen.
Tijdens de opnames verbleef ik in een hotel, want ik wilde niet afgeleid worden door dagelijkse dingen.
En ik deed wat aan sport, want het opnemen van een film is vermoeiend en je hebt dan een goede conditie nodig.
De opnames waren behoorlijk moeilijk...
Van de 122 scenes zit ik er in 115 en ik had een heleboel tekst. Ik leerde mijn tekst in het weekend.
En mijn rol was totaal anders dan in "And now...Ladies and Gentlemen". In die film was ik een zangeres, maar hier heb ik een totaal andere rol.
Vooral het uiten van allerlei emoties was moeilijk voor me.
Kon je al die verschillende emoties uiten?
Dat was niet makkelijk, want er waren behoorlijk hevige emoties bij, zoals wanneer ik boos ben en bedroefd etc.
Ik probeerde aan dingen in mijn verleden te denken, of aan de dood van mijn moeder, maar dat is al zo lang geleden en soms dacht ik aan een bepaalde song om het juiste gevoel te krijgen.
Werd je tijdens de opnames gerustgesteld?
Ik was altijd bang dat ik mijn tekst niet meer zou weten. Als ik op het podium sta om te zingen, dan sta ik daar in mijn eentje. Maar nu moest ik mezelf uiten in het zicht van al die andere akteurs en dat is niet makkelijk voor me. Maar Serge Hazanavicius, die mijn ex man speelt, was heel lief voor me. Hij zei dat ik me geen zorgen hoefde te maken.
Ik vond het vooral moeilijk om de kreet te uiten, die Cathy slaakt als ze hoort dat haar dochter is vermoord. Maar iedereen was heel vriendelijk voor me en iedereen zei dat ik het prima deed.
"Kon je het 'savonds allemaal loslaten?
Nee dat kon ik niet. Tijdens het avondeten praatte ik wel over andere dingen, maar zo gauw ik naar mijn kamer ging was ik weer in dezelfde stemming als in de film.
ik was erg gefocust. 3 Weken voor de opnames begon ik te luisteren naar de BO de La Liste van Schindler, elke morgen en elke avond. Aan het einde van de opnames was ik erg depressief ( ze lacht).
Is het zijn van een actrice een droom voor je?
Nee. Ik vond het altijd nogal amusant. Maar toen ik de opnames terug zag was ik in shock en ook bezorgd, want de persoon die ik zag was degene die ik elke morgen, als ik wakker word, in de spiegel zie. De Patricia die alleen de mensen heel dicht bij me kennen. Deze keer, met Assassinée, ga ik dieper in mijn gevoel en ook in mijn manier van uiten van mezelf. Het is meer de echte Patricia die je nu te zien krijgt.
Meer informatie over de film vind je op mijn forum hier.
Interview with Patricia Kaas
Patricia Kaas, representing all strength and fragility, gives her beautiful face to the touching Cathy, the mother role, who was devastated by the murder of her daughter, when she celebrated her 20th anniversary, and who will learn to reconstruct herself towards and against everything!
The actress and singer talks to us about this trying and very physical role which leads her far, too far in emotions!
First of all, I have met the producer Jean-Pierre Alessandri. He saw me in a broadcast where I was speaking about my autobiography, and, in my manner of speaking, he has heard an authenticity which was tempting him to take me for the role of Cathy.
I took my time to consider if I wanted to take this role, because this character was supposed to have a lot of anger and a lot of tears. I was asking my intimates: when have you seen me crying the last time?
And then I said to myself, that I must do it. For me! This role, which was requiring to do things that I was not accustomed to give; it was a challenge for me.
I got ready by isolating myself in the hotel, three weeks before the shooting. I already said it: I never cry!
So I tried to found the music to plunge me in the atmosphere of the sadness.
It was the music of one film which I was listening to many times a day. Before starting one difficult scene, it brought me in the right mood for the Cathy’s tragedy.
I isolated also myself from my intimates and daily live, staying at the place from the shooting, to be totally immersed in this story. It was a very physical role with six or eight sequences a day during the five weeks of the shooting, starting very early in the morning.
During the week-end I was sleeping and learning my texts. After each shooting day I was working with dialogs and with situations with my coach. Of course, Thierry Binisti has directed me a lot of time and he was able to put me at ease.
Because I was afraid to be judged from my experience as a famous singer. However, it was exactly the opposite, and I have always felt that the crew, and especially Serge Hazanavicius who plays my ex-husband, was with me! I was also anxious to be obliged to replay one scene because of me.
But immediately, he helped me get rid of my guilt, assuring me that if it had to redo the take, it would benefit him, because so, he could propose other things!
When I am on the scene, if I’m mistaken, I am the only one to put myself in risk. Whereas, during the shooting of a film, the fact to begin again a scene impacts a lot of people. From the first week of shooting I have learned a great deal.
So, the fist times, when I was forgetting the text, I was stopping immediately. Very quickly, I have learned to improvise, not on text but with movement, staying in the situation, where I was finding myself at that moment. I was realizing that Thierry let the camera role because, in the acting and in the look, I was bringing him, on top of the dialogs, the moments of intuition which he could use!
The moment, of which I was the most afraid, is the cry I let out in the hospital when I see the clothes of my daughter! I had to to give the cry of an agonizing beast, it was removed in the montage because it was too painful in the image.
But I did it. I remember that the day before I went to the field behind my hotel and I was bawling with the hope that the nearby neighbors were absent. As well as in the scene, where I had to faint, I had to learn to fall, and it is not simple. When one reads in the scenario: she faints!
You know it is something unknown to do spontaneously! Another time I had to spit in the face of one journalist: how do you do that, in which way, is it that one really spits? I went even to apologize to her before the scene! And the sequence at the top of the stairs in front of the door of Eva’s room.
I squeeze her dress against me, crying. It was necessary to me to be the pain incarnation. At this very moment I was giving the orders to myself to achieve this. It was really difficult and of such an intensity!
Cathy and me
Cathy is like me in her pain and fragility and, at the same time, in her courage to continue the battle. I went through a lot of difficult things in my live and I used it for my personage. The beautiful things, we retain them, but the difficult things make you learn how to live.
I come from a family of seven children with a father who was a mine worker; we did not complain at home, even if our life was difficult. I was always telling myself: there is the light at the end of the tunnel and one must go there.
Through my songs, through my spectacles, I always succeeded to find it! It is true, there was this autobiography two days ago, which was like a sort of therapy for me, and I think that if I hadn’t written this book, I wouldn’t may be have done this film! It is this one ability to take a step back from myself which made me better suited to accept the role so dense and so important.
But I have to say that I was astonished and impressed by the confidence of Jean-Pierre Alessandri, Thierry Binisti and all the crew towards me. I felt also very scared to abandon this difficult role. But I was totally absorbed in the project “Kaas sings Piaf” and it I got through a lot to evacuate Cathy from my head, This superb experience didn’t make me want, all of a sudden, to change my occupation: my real passion is still the music! But one never knows…
Interview with Thierry Binisti
Thierry Binisti likes working with actors who are not professional comedians (Laetitia Casta in The blue Bicycle, Éric Cantona in Outremangeur, Enrico Macias in Mister Molina).
Unusual movies which bring a lot of differences and peculiarities. It is a bonus for Thierry Binisti, who stages this time Patricia Kaas in “Assassinée”, a tragic and bright role, for a strong and fragile woman at the same time.
How do you manage somebody who isn’t a comedian?
Patricia Kaas has a job which is very different from a play wit all his expressions, the interpretation of a text, the construction of a character. As a result, we worked a little bit differently with her.
Having said that, when we choose somebody, it is because he or she possesses something very close to the character of the movie. In the case of Patricia, the same as in the case of Laetitia Casta, their nature, their personality - or in any case what we know of it – was very close to the character of Cathy in the movie.
Patricia has the right emotional traits, the real strength too, and, at the same time, a very big fragility. When you put this strength, which she shows on stage, next to her fragility you get some beautiful traits for the Cathy character.
What are the strengths and the weaknesses of Patricia Kaas as an actress?
Her biggest strength is an incredible intuition on what is just or not, and she relies on this intuition. Furthermore, her experience on stage brought her to propose different things all the time. Opposite of that Patricia was very afraid of not being good enough for the role, but this fear was never paralysing. There was something feverish in her and very fragile, but she always managed to cope with that.
Patricia and I developed a relationship of trust and confidence.
She knew that as long as I didn’t have what was necessary for a certain scene and for the movie, we would continue and when I judged that a scene was good, even if she wasn’t persuaded, she relied on me. We listened to one another during the preparation of the movie, during the shooting, and also during the editing of it.
There were many readings and rehearsals and everything went very smoothly and controlled.
What was the most difficult scene for her?
The moment that Patricia / Cathy has to intervene in her garage to stop the murder of her young neighbor by her ex-husband. There was something fragile in the construction of this scene, because her ex husband threatened her with a gun pointed at her.
She didn’t know how to play this scène; what kind of energy or attitude she should use, because, at this moment, the behavior of Cathy was not natural for Patricia, who said to me: " I, if I see that, I jump on top of him”.
Except that, if she jumped on top of him, there would be no more sequence! We worked on this scene for a long time, there were a lot of takes. And we did a lot of editing to get it right.
The most beautiful scene for you?
There are many very moving scenes which really moved me to tears at the time of rushes, but, for me, the one that stays the most with me is the one where Cathy discovers the clothes of her daughter in the hospital. It is absolutely deeply moving! Next to that, there are more bright scenes, where Patricia shows an incredible maturity.
That of a woman who is crossed by terrible events and who survived. She manages to show all the subtlety for this transformation She allows herself to let go and she is magnificent!
Serge Hazanavicius's choice?
I had never worked with him, but I felt a big generosity in him, which was necessary for this kind of adventure. Not all actors have this capacity. It was important because we wanted to show the reality of this couple, not intellectuals, not bobos but people anchored well in daily life: he is a baker, she works in a garage, and, thanks to the personality of Serge and Patricia, this couple was very credible!
What brings Patricia into the character of Cathy?
Many actresses would have been able to play this role of a mother destroyed by the death of a child, obviously! But the fact of proposing this role to Patricia gives the movie an original dimension. In the silences, in the glance, there is a different sensibility. Something unusual in its presence and intensity. In fact a very modern movie!