IPOD
RADIO
High Tension star Cecile de France
By Daniel Robert Epstein
Jun 10, 2005
I wasn’t sure what to expect when interviewing Cecile de France in person. I’ve seen only a handful of her films but the one that made the biggest impression on me is her latest, High Tension where she has to battle a vicious killer. It’s a French horror film that’s a gory throwback to films such as Alien, I Spit on Your Grave, American Gothic and those of that ilk. de France is the star of High Tension and plays Marie who is staying at a friend’s house in the French countryside when out of the blue an evil sadistic son of a bitch starts killing the entire family in the most horrific ways imaginable. de France’s character is the only one that has the chance save the last surviving family member.
Check out the official website for High Tension
Daniel Robert Epstein: How are you today?
Cecile de France: I'm happy to be here in New York for the first time.
DRE:
I see you’ve obviously done a lot of films in France; did you audition for High Tension?
CF:
No, they approached me three years ago and just asked me to do the role. Then I read the script and devoured it because it is a very good script. It was also the first time a director proposed a role that was so violent and I love that kind of film. Also I have a theatre background so since there was not a lot of dialogue I got to play more with my body which I like.
DRE:
I read that you were a big fan of horror films.
CF:
[director/co-writer] Alexandre Aja is a fan of these films and after he chose me he asked me to see the films The Hit, Duel, Rosemary’s Baby and The Tenant. So I discovered these films.
DRE:
There is some slight controversy swirling over the lesbian aspects. How do you think that affected the character?
CF:
As an actress, what was interesting was to play a character who has not yet found her equilibrium. She’s a bit of a tomboy and at the beginning of the film she is withdrawn and vulnerable especially compared to her friend Alex [played by Maïwenn Le Besco]. Alex is more extroverted and self assured and they are very close. It’s not about homosexuality, it’s about this girl who appears fragile gradually revealing her true self and everything she keeps within, comes out. It is not symbolic as some journalists are saying. Something is not right with Marie so when she sees something wrong she tackles it head on.
DRE:
Just by coincidence recently I talked to Leigh Whannell, who wrote SAW, and we spoke about High Tension. He said that High Tension kind of goes back to a time when horror filmmakers didn’t have as much regard for the safety of their main characters. How does one play someone who constantly might just disappear off the screen and be dead?
CF:
When Alexandre proposed the role to me, he explained that the film is more about my survival with me as the heroine. It’s more about the little boy, the mother, the father who died very quickly, but not my death.
DRE:
How did the rough conditions affect the shooting of the movie?
CF:
The conditions were very bad because it was a low budget movie and we had to shoot all night long in the cold. But that’s why I think this film is successful, the energy was very special because it’s like we were fighting with elements of nature.
DRE:
Did it make you angrier more when you were supposed to be angry or shiver more when you were afraid?
CF:
No, I’m the kind of actress who prefers to be comfortable to concentrate with what I’ve got to do. I don’t want to be hurt if I have to play hurt. I prefer to be directed by someone who knows what they want to do, that’s all.
DRE:
There’s this film that came out about 25 years ago called I Spit on Your Grave and was also called Day of the Woman. In the beginning of it this woman is raped and spends the rest of the movie killing the men who raped her in horrible ways. I’m sure the filmmakers didn’t mean it to be but since then it’s been called out by some feminists as being empowering. Do you think High Tension can be viewed that way?
CF:
No, I think the heroine is for the sexy part, that’s all. Just for the mixture of attraction and repulsion that we have for the things that terrify us. Just to feel the thrill. I always use this example, you invite friends for a sleepover over when you are a kid to and when your mother turns off the light, some think it’s exciting, some think it’s thrilling, so it’s only about this. There’s no fighting for female something, just tension.
DRE:
What was the attitude on set when you weren’t shooting?
CF:
It was very friendly. Giannetto De Rossi, the special effects makeup artist, is a true craftsman and so I spent a lot of time observing him when he was building and creating all of the wounds and scars. It was wonderful to see that, so when we were not shooting I spent a lot of time in his trailer to look at how he did it. It was very funny, because, for example, when the man who died in his car wasn’t shooting he was standing there with his coffee and his cigarette covered in wounds and blood saying “hello.” So outside of shooting it was very funny.
DRE:
For the American release, there was about one minute cut out of the gore when they get the head cut off. Did you see the American version?
CF:
Oh that's a shame. No, I did not.
DRE:
From what I read, horror is the genre that fueled your teenage dreams. What were the horror movies that you remember seeing?
CF:
The Shining. I like adventure films, thriller and horror films. It makes me feel alive which is a good feeling.
DRE:
Did you feel that the twist ending in High Tension was necessary?
CF:
No, it was not necessary.
DRE:
American actors wouldn’t usually admit that.
Was there any part of this that you couldn’t watch? Like, maybe the scene where he pushes the desk into the father’s head?
CF:
No, not really, I think it’s funny. It’s about imagination and if a director has something to create, I think it’s more interesting if he oversteps the bounds. If he pushes the envelope it’s impressive.
DRE:
At what point did you realize that this movie was going to get you to come to visit New York and become this big deal and probably make a quite a bit of money?
CF:
No, I never thought about that. I just want to tell the story and play my character. That’s most important. I never think about what happens after, the business or the life of the film.
DRE:
If High Tension does well enough, I’m sure there would be a sequel either in the theater or straight to video. Would you want to be involved with that?
CF:
I don’t know, it depends on the script, it depends on the character and it depends on the quality of the project.
DRE:
Would you do it if it was a good script but Alexandre Aja wasn’t involved?
CF:
No, perhaps not. This film was a synchronization of a few elements, because we were young, because we were with Giannetto De Rossi. If it does have the same things it will not be the same spirit.
DRE:
Are you already getting calls to be in more horror films?
CF:
I don’t know. But I’m not thinking about what kind of film I want to do; it’s more about the story or the character.
DRE:
Did you have any influence on the look of your character?
CF:
Alexandre wanted the tomboy look. But also I did two months of physical working with an amateur boxing world champion. I lost a lot of weight and gained a lot of muscle. Alexandre wanted to build up my stamina and also to make my face more angular because my other characters were fresh and glowing so he wanted to change this aspect of myself. I needed to change my body, to change my face, to change my hair for this role. It was very exciting for me
DRE:
The website that I write for has girls with tattoos on it. I was wondering if you have any tattoos.
CF:
No I do not.
DRE:
Have you ever thought about getting one?
CF:
No, I don’t think it’s a good idea.
DRE:
Why is that?
CF:
When you are old, you cannot take it off but sometimes it’s beautiful when it’s well done. Also if I have to play a princess in the 18th Century, how will I do that? I have to cover it over. I would be prisoner of my choice.
DRE:
How was hosting this year’s Cannes Film Festival?
CF:
I was the mistress of ceremonies. It was amazing, but I was filming in Paris so I was going back and forth so I did not get to see the films, but as mistress of ceremonies you just have to present the members of the jury and the president of the jury. It was a privilege and an honor for me.
DRE:
When did the acting bug bite you?
CF:
When I was six years old. One day the teacher asked me to recite a poem so I did a lot of gestures and with the costumes and everything. All of the class applauded for me and when the teacher asked another time who wants to recite a poem and all the class would say “Cecile, Cecile.” That’s when I started doing a lot of amateur theater.
DRE:
Do you know what movie you’re doing next?
CF:
I’ve just finished a film, called Fauteuils d'orchestre, by Danielle Thompson who did the script for Queen Margot and I will begin another one with Gérard Depardieu that is about a love story between us. Also the sequel to L’ Auberge espagnole by Cédric Klapisch is coming out on June 15 in France and it’s called The Russian Dolls. It’s impressive because it’s the same characters but its five years later. So it’s more about the problems of adults and so it’s better than L’ Auberge espagnole.
by Daniel Robert Epstein
SG Username: AndersWolleck
I wasn’t sure what to expect when interviewing Cecile de France in person. I’ve seen only a handful of her films but the one that made the biggest impression on me is her latest, High Tension where she has to battle a vicious killer. It’s a French horror film that’s a gory throwback to films such as Alien, I Spit on Your Grave, American Gothic and those of that ilk. de France is the star of High Tension and plays Marie who is staying at a friend’s house in the French countryside when out of the blue an evil sadistic son of a bitch starts killing the entire family in the most horrific ways imaginable. de France’s character is the only one that has the chance save the last surviving family member.
Check out the official website for High Tension
Daniel Robert Epstein: How are you today?
Cecile de France: I'm happy to be here in New York for the first time.
DRE:
I see you’ve obviously done a lot of films in France; did you audition for High Tension?
CF:
No, they approached me three years ago and just asked me to do the role. Then I read the script and devoured it because it is a very good script. It was also the first time a director proposed a role that was so violent and I love that kind of film. Also I have a theatre background so since there was not a lot of dialogue I got to play more with my body which I like.
DRE:
I read that you were a big fan of horror films.
CF:
[director/co-writer] Alexandre Aja is a fan of these films and after he chose me he asked me to see the films The Hit, Duel, Rosemary’s Baby and The Tenant. So I discovered these films.
DRE:
There is some slight controversy swirling over the lesbian aspects. How do you think that affected the character?
CF:
As an actress, what was interesting was to play a character who has not yet found her equilibrium. She’s a bit of a tomboy and at the beginning of the film she is withdrawn and vulnerable especially compared to her friend Alex [played by Maïwenn Le Besco]. Alex is more extroverted and self assured and they are very close. It’s not about homosexuality, it’s about this girl who appears fragile gradually revealing her true self and everything she keeps within, comes out. It is not symbolic as some journalists are saying. Something is not right with Marie so when she sees something wrong she tackles it head on.
DRE:
Just by coincidence recently I talked to Leigh Whannell, who wrote SAW, and we spoke about High Tension. He said that High Tension kind of goes back to a time when horror filmmakers didn’t have as much regard for the safety of their main characters. How does one play someone who constantly might just disappear off the screen and be dead?
CF:
When Alexandre proposed the role to me, he explained that the film is more about my survival with me as the heroine. It’s more about the little boy, the mother, the father who died very quickly, but not my death.
DRE:
How did the rough conditions affect the shooting of the movie?
CF:
The conditions were very bad because it was a low budget movie and we had to shoot all night long in the cold. But that’s why I think this film is successful, the energy was very special because it’s like we were fighting with elements of nature.
DRE:
Did it make you angrier more when you were supposed to be angry or shiver more when you were afraid?
CF:
No, I’m the kind of actress who prefers to be comfortable to concentrate with what I’ve got to do. I don’t want to be hurt if I have to play hurt. I prefer to be directed by someone who knows what they want to do, that’s all.
DRE:
There’s this film that came out about 25 years ago called I Spit on Your Grave and was also called Day of the Woman. In the beginning of it this woman is raped and spends the rest of the movie killing the men who raped her in horrible ways. I’m sure the filmmakers didn’t mean it to be but since then it’s been called out by some feminists as being empowering. Do you think High Tension can be viewed that way?
CF:
No, I think the heroine is for the sexy part, that’s all. Just for the mixture of attraction and repulsion that we have for the things that terrify us. Just to feel the thrill. I always use this example, you invite friends for a sleepover over when you are a kid to and when your mother turns off the light, some think it’s exciting, some think it’s thrilling, so it’s only about this. There’s no fighting for female something, just tension.
DRE:
What was the attitude on set when you weren’t shooting?
CF:
It was very friendly. Giannetto De Rossi, the special effects makeup artist, is a true craftsman and so I spent a lot of time observing him when he was building and creating all of the wounds and scars. It was wonderful to see that, so when we were not shooting I spent a lot of time in his trailer to look at how he did it. It was very funny, because, for example, when the man who died in his car wasn’t shooting he was standing there with his coffee and his cigarette covered in wounds and blood saying “hello.” So outside of shooting it was very funny.
DRE:
For the American release, there was about one minute cut out of the gore when they get the head cut off. Did you see the American version?
CF:
Oh that's a shame. No, I did not.
DRE:
From what I read, horror is the genre that fueled your teenage dreams. What were the horror movies that you remember seeing?
CF:
The Shining. I like adventure films, thriller and horror films. It makes me feel alive which is a good feeling.
DRE:
Did you feel that the twist ending in High Tension was necessary?
CF:
No, it was not necessary.
DRE:
American actors wouldn’t usually admit that.
Was there any part of this that you couldn’t watch? Like, maybe the scene where he pushes the desk into the father’s head?
Was there any part of this that you couldn’t watch? Like, maybe the scene where he pushes the desk into the father’s head?
CF:
No, not really, I think it’s funny. It’s about imagination and if a director has something to create, I think it’s more interesting if he oversteps the bounds. If he pushes the envelope it’s impressive.
DRE:
At what point did you realize that this movie was going to get you to come to visit New York and become this big deal and probably make a quite a bit of money?
CF:
No, I never thought about that. I just want to tell the story and play my character. That’s most important. I never think about what happens after, the business or the life of the film.
DRE:
If High Tension does well enough, I’m sure there would be a sequel either in the theater or straight to video. Would you want to be involved with that?
CF:
I don’t know, it depends on the script, it depends on the character and it depends on the quality of the project.
DRE:
Would you do it if it was a good script but Alexandre Aja wasn’t involved?
CF:
No, perhaps not. This film was a synchronization of a few elements, because we were young, because we were with Giannetto De Rossi. If it does have the same things it will not be the same spirit.
DRE:
Are you already getting calls to be in more horror films?
CF:
I don’t know. But I’m not thinking about what kind of film I want to do; it’s more about the story or the character.
DRE:
Did you have any influence on the look of your character?
CF:
Alexandre wanted the tomboy look. But also I did two months of physical working with an amateur boxing world champion. I lost a lot of weight and gained a lot of muscle. Alexandre wanted to build up my stamina and also to make my face more angular because my other characters were fresh and glowing so he wanted to change this aspect of myself. I needed to change my body, to change my face, to change my hair for this role. It was very exciting for me
DRE:
The website that I write for has girls with tattoos on it. I was wondering if you have any tattoos.
CF:
No I do not.
DRE:
Have you ever thought about getting one?
CF:
No, I don’t think it’s a good idea.
DRE:
Why is that?
CF:
When you are old, you cannot take it off but sometimes it’s beautiful when it’s well done. Also if I have to play a princess in the 18th Century, how will I do that? I have to cover it over. I would be prisoner of my choice.
DRE:
How was hosting this year’s Cannes Film Festival?
CF:
I was the mistress of ceremonies. It was amazing, but I was filming in Paris so I was going back and forth so I did not get to see the films, but as mistress of ceremonies you just have to present the members of the jury and the president of the jury. It was a privilege and an honor for me.
DRE:
When did the acting bug bite you?
CF:
When I was six years old. One day the teacher asked me to recite a poem so I did a lot of gestures and with the costumes and everything. All of the class applauded for me and when the teacher asked another time who wants to recite a poem and all the class would say “Cecile, Cecile.” That’s when I started doing a lot of amateur theater.
DRE:
Do you know what movie you’re doing next?
CF:
I’ve just finished a film, called Fauteuils d'orchestre, by Danielle Thompson who did the script for Queen Margot and I will begin another one with Gérard Depardieu that is about a love story between us. Also the sequel to L’ Auberge espagnole by Cédric Klapisch is coming out on June 15 in France and it’s called The Russian Dolls. It’s impressive because it’s the same characters but its five years later. So it’s more about the problems of adults and so it’s better than L’ Auberge espagnole.
by Daniel Robert Epstein
SG Username: AndersWolleck
by Daniel Robert Epstein
SG Username: AndersWolleck
