La Princees du Montpensier Interview

Gaspard Ulliel is a young French actor best known for his roles in films such as A Very Long Engagement and Hannibal Rising. Co-starring alongside Melanie Thierry in The Princess of Montpensier by Bertrand Tavernier, he plays the Duc d’Guise, a soldier who is a passionate defender of his faith, who marries a woman that does not love him. Talking to View’s Matthew Turner recently, he spoke about the difficulties of filming battle scenes, working with the famous filmmaker Tavernier, and the eternal nature of love.

What is the film about and who do you play?

Gaspard Ulliel

So, in this film I'm the Duke of Guise, which is a historical character – he really existed. And this man – well, in all the information I found, on the internet or in some readings, he was always described as a great fighter and a great soldier and really committed to the Catholic cause and the campaign against the Huguenots. And then, the writer, Madame de Lafayette took some real historical characters then she would invent this romance. Because Marie, the main character, this lady never really existed. So it was quite interesting to work on the real aspect of this character and then create most of the feelings and the emotions in his relationship to this lady, because this never really existed.

He is one of the greatest French filmmakers and such an interesting man – he's like a cinema encyclopaedia...

Is that what attracted you to the part in the first place?

Gaspard Ulliel

I think the major thing that really attracted me in this project is the idea of working with Bertrand, because obviously he is one of the greatest French filmmakers and such an interesting man – you know, he's like a cinema encyclopaedia. So it was great to be working with him and experiencing his direction on set and also just talking with him in between the takes and travelling with him during the publicity of the film, because I could talk with him for hours, he is so interesting.

Had he seen your previous films?

Gaspard Ulliel

I think he sees every French film released anyway. I think he goes like five times to the cinema in a week, so obviously he saw most of the films I've done before. I know that for Melanie's character he auditioned many different actresses. For my part, he chose me straight away, the same for Gregoire, who plays the Prince. We were the two first actors to be engaged on the film, so basically, it's just the producers who phoned my agent saying that Bertrand wanted to meet with me to offer me a part in his next film and I was so thrilled.

And we just met in a cafe on the Champs-Elysees – a bit of a cliché, but it was great. I just met with this sweet man and we talked for two hours about many things and about the script, obviously and I could see that he was so, so into it and really excited about this project. And the next day I read the script and the short story and I just thought that it was a great film, because they managed to find this perfect balance between an entertaining piece and a more visceral and intellectual film.

When you read the short story by Madame de Lafayette, for a young person like me, at some point it can feel a bit cold and stiff, because the style of the writing is a bit old-fashioned. And also the way it is written is really elliptic, with long sentences full of dense information. The script was totally different – it was full of energy, full of life and with a modern touch to it, a modern feel. I think this comes from strong themes that emanate from the story that have really high resonances to our modern daily life, like the condition of women in society or the idea of fighting for religious beliefs. [This] is something that is still happening today in a lot of different countries, so I think in that way it was quite modern and would strike modern audiences.

Also most of the feelings and the situations the character had to deal with in the story is something that most young audiences would still identify with. It's something eternal, I think. So in that way, the story was quite appealing to me and I thought it would make a great film. Because when you think about a period film, you always think it's going to be boring, slow and with heavy dialogue and a bit stiff. And that's not the case in this film; I think it has a lot of rhythm, a lot of energy and a mixture of love scenes, emotional scenes and really entertaining scenes, like the fights and the battle. And it has beautiful landscapes, beautiful sets.

I liked the way Bertrand filmed it, because it's quite modern in a way – a lot of handheld shots, a lot of steadicam. It's quite unusual in a period piece.

You didn't mention the swordfighting. Did you train for a long time to do that?

Gaspard Ulliel

Well, I tried to train as much as I could, because the film at some point was on stand-by, because we were waiting for the money and the financing. So all of a sudden, when we got the money, the producers phoned everyone to say, 'Okay, everyone, we're shooting in a month and a half,' so we had to rehearse as much as we could. Because Bertrand told us since the very beginning he wouldn't use any doubles or any stunts, we had to be able to do those fights from the beginning to the end, because he also said he would film it with long shots and not a lot of cuts.

So it was quite daunting and exciting and you know, fighting with a sword is a bit like going back to my childhood and just having fun. And it also felt a bit more like a dance at some point, because obviously you know all the moves in advance, you know what your opponent is going to do, so it's more about the choreography and getting the right rhythm and the right pace, so yeah, it can be a bit more like a dance.

Did you get injured?

Gaspard Ulliel

I did, only once, actually. On the shoot, for the duel scene in the courtyard, the second fight with the Prince. During one of the takes, the knife went into my mouth and it just caught my lip. But the blade was blunt so I didn't get severely injured – I only had a bit of blood and that's it, so it was not a big deal.

You've mentioned Bertrand as a director already but how does he compare to other directors you've worked with?

Gaspard Ulliel

Well, there is one thing I really liked in the way he works. First of all, he is one of those directors, the kind of director who really loves his actors – you can really feel it, even when you watch his films. He's really concerned about the acting and that's not always the case. He gives you a lot of importance and a lot of freedom as an actor, so that's great. And also, I really enjoyed the experience to be able to work ahead of the shoot and we would meet up with Bertrand, go to lunches and readings and just discuss the character and create the character together.

That's not always the case. Many directors I've worked with, I only met them for the first time on the set and that's a shame. Because here we were able to talk a lot about the character ahead of the shoot and even go to readings with the rest of the cast. And I remember he would insist on the fact that he wanted to meet with each single actor on the film, even small parts that would only have two days of shooting. He met with all of them, one-to-one, to have a discussion about the character and go through each single scene, and this is just amazing.

For the duel scene in the courtyard, during one of the takes, the knife went into my mouth...

So does he insist that you stick to the script?

Gaspard Ulliel

Well, you know, it's a period film, so obviously, regarding the dialogue, we couldn't really change it, because it's a precise way of speaking, it's old-fashioned French, so we were not really able to improvise. But if we had any problem with a word or a grammatical construction or a sentence, we could talk to him and change it, obviously. But yes, most of the time we would stick to the script.

Do you have a favourite scene in the film?

Gaspard Ulliel

The scene that really strikes me is the first night between the Prince and the Princess after the wedding, because [of] the first sexual relationship.

It's funny, Bertrand told me how he invented this scene. When he thought about the wedding, he said, ‘I wonder how it is, the first night you have to spend with your husband when it's a forced marriage, because obviously at that point she doesn't like him.' So, because most of the writing process was with a historian that he would consult, he went to the historian, asking about those first love scenes and that's when he learned that most of the time it was public and that actually the two families would assist to the love scene. And so he just said, ‘That's such an amazing scene to create,’ and it is. It's a mixture of different feelings. It made me so uncomfortable at some points and the way it's lit, the cinematography of it is just great.

What was the most difficult scene to film?

Gaspard Ulliel

Well, I think the most challenging part of the shoot was the battle scene, the main war scene. Because it was a really tight schedule, we didn't have all the money we needed for the shoot so we had to reduce the time of the shooting and we had only two days to do all those fight scenes. And it's the first time I remember when I arrived on the set in the morning and I just felt that it was totally impossible and we wouldn't be able to do it because we didn't have enough time.

And I don't know how but Bertrand managed to get everything he needed for those battle scenes. I remember that it was really tough and we would be working in a really quick pace. It was really demanding and the conditions were really hard. It was really cold, it was raining, we were in the mud all the time. Actually, I think we had like 300 extras and so it was a big deal, and we counted at the end – we lost 40 pairs of shoes in the mud.

Wow. I thought the battle scenes looked really good, actually.

Gaspard Ulliel

Yeah, yeah, they're great. But when you think they were shot in only two days, it's just amazing.

Did you work very closely with a fight co-ordinator?

Gaspard Ulliel

Yeah, he was great. And I liked the idea that Bertrand went and hired that guy, because this fight co-ordinator usually works on modern films with modern fights and police films, and he knew nothing about swordfighting and period films. So of course he worked closely with a specialist for those period swashbuckler films but he would give a more modern touch to it and it would feel a bit more violent and savage. And, yeah, he did a really good job, I think.

Did they cut anything out that you didn't want to lose?

Gaspard Ulliel

No, I think we used most of what we shot, actually. I can't even think of a scene that was cut. No waste.

We had like 300 extras and we counted at the end – we lost 40 pairs of shoes in the mud...

Had you worked with Melanie before?

Gaspard Ulliel

No, it was the first time I was meeting her, really. We had never really talked to each other before and the first time I met her was during the audition, because she auditioned for the role and as I was already chosen, I was there to work with all the actresses that were auditioning.

You got to work with all the auditioning actresses? That must have been nice.

Gaspard Ulliel

Well, it was odd. I don't really like it.

Really?

Gaspard Ulliel

Well, it's difficult, because you feel really – well, because as an actor, you know how difficult it can be to be auditioning for a role and then you're on the other side and you just – and you know, the thing that is quite terrifying is that you want to be as good as you were with every different actress and you know sometimes you feel a bit more tired and you gave more to one than to another. It's difficult to be even with all of them.

Heartthrob Gaspard Ulliel in The Princess of Montpensier

The tres adorable French actor Gaspard Ulliel may be best known to American viewers who saw him in Hannibal Rising, or from his part in the Gus Van Sant segment of Paris Je T’aime. But anyone who saw his seductive performance in out filmmaker André Téchiné’s Strayed, or as one of the lovers in A Very Long Engagement knows Ulliel’s sex appeal.

Now starring as Henri, a dashing rogue caught in a love quadrangle in the fabulous historical costume drama/romance The Princess of Montpensier, this French dreamboat may be once again poised for breakout success.

The San Francisco Bay Times met with Ulliel to discuss his career and his character, as well as his thoughts about love, sword fighting, and his dimple-like facial scar.

(Bay Times) You are a heartthrob in France - and to American viewers who know you. Do you find that quality difficult? Do your striking good looks play into your characters, and your roles?

(Ulliel) It can be a privilege, but at the same time, it can prevent you from going to certain roles - you can be typecast. If you look handsome, or you have this image as a young, handsome guy, sometimes you want to break it and play certain characters, but you are too good looking. Some directors, have a lack of imagination. For an actor, the most pleasurable job is to work on a character that is far from who you are in real life. I think the most important thing is in your eyes and your look - it can add to your acting. But obviously, if you are born [handsome], you have to embrace your body.

It’s interesting to trigger other things by working on your body and the way you look. You can see this with many actors who transform themselves and change their whole body - like Christian Bale.

American viewers may know you best from your role as young Hannibal Lecter in Hannibal Rising. Can you discuss that experience? Were you looking for a breakout success?

I was aware of the risks when they asked me about the part. At the same time, it was really appealing to me, to play such an amazing part, and working in English, with an American team. I think I refused the first two times they came to me. It was awkward to have a French guy do Hannibal Lecter. But the thing that made me change my mind was my first meeting with the director, Peter Webber, who was really witty and clever. I appreciated his first film The Girl with the Pearl Earring. I thought it was nice and interesting idea for the producer to pick someone like this to direct this film.

But a breakthrough American success would have changed your career…

True, true. Another important thing I took into consideration was that this gave me the opportunity to work in English with a great director and to work on a fascinating character.

What appealed to you about playing Henri in Princess of Montpensier?

I was asked to meet Bertrand [Tavernier, the director], who is a great filmmaker in French cinema. It was easy to say yes before I read the script. We had a simple meeting and he talked about the project, and I read it, and I was in. The story was adapted from a famous French story I studied in school, and it was interesting to see what they did with it. The [story’s] style of writing is pretty specific - concise and elliptic - and a bit cold, and the film is the total opposite, full of energy and told at a quick pace. The sentences in the book are so dense and rich. But they did a great job in finding a way for the characters to speak in the period style, but for the audience to understand it. I never had a problem with the dialogue.

How did you research your role?

We were lucky to have Bertrand, who knows so much about so many things. He’s really precise on everything. He’s fascinated by history, so he knew a lot of really important details to help us actors get a full glimpse of daily life at that time. He asked the whole crew to read a biography of King Henry III, and in it, there were details about the way people were living at that time.

What do you like to read?

I’m reading Dostoevsky. I recently read Notes from the Underground, and I’ve always wanted to - I never did it, but I’m going to pick it up soon - to read Remembrance of Things Past by Proust. So many people have told me about it. It’s thick.

How as it work in period costume, and sword fighting in the mud?

I’m really thankful to the costumes, and makeup. The idea of having long hair and a heavy costume was quite helpful for the character, and this was Bertrand’s choice. He insisted on the fact that I let my hair grow for this part - especially for the fight scene, where I have my hair pulled back a bit like a samurai. We had to do a lot of adjustments with the costumes. When they created them at first, we just did fittings. But when we started to rehearse with the costumes, we couldn’t move the way we wanted to. We had two months of rehearsals for the fighting - this was totally new to me - and quite fun to do. But it’s more like a dance than a fight, because it’s choreographed. And riding the horse was a big load of fun. That was totally new to me as well, and I really loved it. After the film, I missed the horse so much - the feeling of freedom.

Henri is described as a man of impulse - are you impulsive?

He is in the present all the time. I’m not like that. I’m the opposite. Impulsive at some point, but I try to take a lot of distance with things. Think before I act. Sometimes, I would like to be like Henri. He embraces life fully. When you think too much, you have a lack of life…You need to be impulsive.

Your character weighs love against money. Are you more romantic or practical in your life?

More romantic I think. Well, I hope. For me, I need to experience some love in my daily life. It’s really stimulating and gives you power and confidence.

I wouldn’t be able to act like this character. At the same time, in this story, he sacrifices for other purposes, but Henri’s feelings for [the Princess] is true passion - it’s really visceral, and linked to sexual attraction. The story is a bit like a Western. The story has the same construction of a female figure in the middle of all these men. It’s a like the only rose in the middle of a desert.

Henri has a morality - he never forgets an offence. He also weeps, and admits it. Do you think he’s tough or vulnerable? How did you find his internal struggle?

When I read the script, I thought that Henri was quite direct and easy to understand as a character, but when I started thinking about it, and talking to Bertrand, I realized his personality was much more complex. He has this strong harsh appearance and at the same time, when he is facing the princess, he becomes softer, and quite weak.

What was it like working with you costars - was there camaraderie on the set?

Most of the experiences I’ve had on set [previously] were with older actors, because I started acting quite young. Here, I worked with a lot of actors from my generation, who were my age. It was moving to work with Gregoire [Leprince-Ringuet, who co-starred with Ulliel in Strayed in 2003]. He’s so different now - he became a man, so it was really nice to work with him again. Raphaël Personnaz [who plays Duc d’Anjou], was a friend, so it was nice to work with him.

You have a scar on your left cheek and in the film your character is scarred. Do you equate any meaning to that?

It was fun - it was the first time they added a scar to my face! I already have this one [indicates scar on his cheek], but it can look like a dimple. I am thankful to the surgeon. It was fun for me to have another scar, and it worked well in the story, because my character already has one scar, but adds another during a fight. So we used my scar for the first scar and they added the other one.

I think it’s a nice metaphor in the story - he wears it on his face, but his deepest scar is in his heart.

L.A and New York Screening

Source: Gaspard Ulliel Online

The Inside Reel Interview

IR Interview: Bertrand Travernier & Gaspard Ulliel For “The Princess Of Montpensier” [IFC Films]

Clic the link to watch the interview

Q&A With Gaspard Ulliel

In the States, Gaspard Ulliel (pronounced ull-yell, preferably with a French accent) is most commonly referred to as ‘that one French dude’ or ‘the sexiest man on the planet’—depending on who you ask. Since getting his modest start in made-for-TV movies in France at 12 years old, Ulliel has built the sort of CV that nobody could have predicted, least of all the actor himself. Now, 26, he has already worked with Gus Van Sant (Paris, Je t’aime), took on Anthony Hopkins’ career-defining role as Hannibal Lector (Hannibal Rising), became the face of Chanel’s new men’s fragrance (Bleu de Chanel), and was nominated as the Most Promising Male Newcomer at the César Awards—the equivalent of the Oscars in France—for three consecutive years.

Ulliel’s most recent role in Bertrand Tavernier’s The Princess of Montpensier, a costume drama that premiered in competition at the Cannes Film Festival last year, continues to take him beyond home turf recognition toward international idolatry. An adaptation of Madame de La Fayette’s 17th century short story, the princess in question is Marie de Mézières (Mélanie Thierry), a beautiful aristocrat who falls for the rakish Henri de Guise (Ulliel), but promised by her father in a political match to marry his childhood friend, Prince de Montpensier (Grégoire Leprince-Ringuet).

The Princess of Montpensier opens this Friday in New York and Los Angeles with a national rollout to follow.

When did you get into New York?

I flew in yesterday. I really enjoy this city a lot and have a couple of friends here. I think I’ve been here maybe 10 times now.

Do you get recognized on the street?

It happens, but not as much as in France, obviously. It’s mostly French people that recognize me in New York.

I find it interesting that a lot of people know who you are outside of France and Europe, but they’re not so familiar with the specifics of your film work. I think that will change, though, especially with The Princess of Montpensier hitting theaters in the US. How did you get involved with that project?

It all happened quite smoothly. My agents told me that Bertrand Tavernier, one of the major filmmakers in France nowadays, wanted to meet with me. I had coffee with him at this little café in Paris and he was very straightforward and offered me the role. I read the script the next day and really liked it. I was keen on working with him even if the script didn’t meet my expectations, but thankfully it did.

The film is based on a famous short story, right?

It’s a really important story in French literature. It’s such a lovely story and I studied the author, Madame de La Fayette, when I was in school. I thought Bertrand did a great job on the script with his co-writer, Jean Cosmos, because the short story is quite old-fashioned. It’s from the 17th century, the beginning of romanticism in French literature. It’s written in a style that, for young people especially, can feel a bit cold in certain parts. The construction is so elliptic that it feels cold. But they managed to do the complete opposite with the film, which feels very modern and full of life. I was also pleased with the dialogue because they managed to form this special language that’s credible for this period in history and, at the same time, totally understandable for modern audiences. It’s not at all how I would speak in modern life, but it was really interesting to work with this kind of language.

There’s a lot of sword fighting and horse riding in the film. What kind of training did they put you through?

I had never been on a horse before. I learned how to ride from this great trainer and he had amazing horses. It was actually quite easy because the horses were so well behaved and they were specifically trained to work in cinema. They’re like a Rolls-Royce. [Laughs] You whistle and they would stop what they’re doing. I’ve actually continued to ride horses after the shoot. I think I discovered a real passion for it. As for the sword fighting, we worked on the choreography for about a month and a half before shooting. It was tough at certain points because I have many fights in the film. We started training too close to the beginning of the shoot, so we had to work on it very intensely. It felt more like a dance than fighting because everything is planned in advance. But yeah, this was really interesting too.

You often say that you fell into acting by chance. If I was a struggling actor, I think I would absolutely detest hearing stuff like that from uncommonly successful people like yourself.

[Laughs] Well, I studied acting when I was really young, but it was something I did after school for fun with other kids. When I was 11 or 12 years old, a friend of a friend my mother was working at an agency and she was looking for young actors. She asked me if I wanted to give it a try and I said ‘yes,’ but just for fun. Quite quickly, I ended up with some small parts in films and I kept doing it, shooting maybe 1 or 2 things a year. I started acting on French TV with small parts. I like looking back on that today because I had a slow and regular progression as an actor. I started with small parts before going into feature films and that gave me time to think. It’s not before I reached 17 that I really decided to continue working in this industry. At first, it was just something I wanted to do for fun.

What was it like working with Gus Van Sant on “La Marais” for Paris Je t’aime?

I’m a big fan of Gus and his films, so I was so happy to be able to work on that with him. We kept in touch for a bit and discussed making bigger films together, but this never happened. We had a really nice project together that would’ve been shot in France, but it didn’t happen in the end. I regret that because I’m a really big fan of his work.

How did that collaboration come about?

On Paris Je t’aime?

Yeah. Did he seek you out?

No, not really. I was attached to the project before he came in. I don’t know how it all happened, but this film was meant to mix a lot talent from different nationalities. I was supposed to work on another district with a different director, but the producers phoned me a year later saying, “We’re still working on Paris Je t’aime and we still want to work with you. But we want you to work on a different district with Gus Van Sant.”

You also worked with Martin Scorsese on the Blue de Chanel campaign not long ago. How did you get paired up for that?

I wasn’t directly connected to Marty. It’s the Chanel people who phoned me saying they were interested in working with me on a campaign. We had a lot of discussions about it. At the time, they hadn’t chosen a director. One day, they came to me with the idea of asking Martin Scorsese and of course I said, ‘That’s a great idea. I would be the happiest man in the world to work with him.” So that’s how we ended up working together. I pinched myself on the set every day—“Yup. I’m not dreaming.” [Laughs] It was really great because Chanel gave Marty and me total freedom. He works so precisely and you can see that his team loves him so much that they work really hard. Marty knows exactly what he wants, how he’s going to get what he wants, and knows when he has it. This shoot only lasted 4 to 5 days.

It all certainly looks very good.

The perfume sales are so good. That’s the purpose of commercials, so it was a big success.

Looking back at your career and what you’ve accomplished, what else sticks out to you? What are you particularly proud of having done?

I think one really memorable experience for me was on a film called Strayed by André Téchiné, a great filmmaker in France. That was an experience where I learned the most because he wouldn’t leave me alone, even for a second, between takes. [Laughs] He was really focused on his actors and that was really wonderful. I was really young at the time and that was a really important film for me.

Do you want to eventually direct your own films?

I do, but it’s a bit difficult. I think I was around 17 years old when I had my first parts in feature films and that’s when I really started to get interested in all of cinema, not just acting. After high school, I went to film school for 2 years. That was a great moment for me because I discovered a lot of directors from around the world and a lot of different types of genre. It would’ve taken me a long time to make these kinds of discoveries on my own without school, so I’m really thankful. At the time, I wanted to express myself with my own films as a director, but as I was getting more and more offers as an actor, I had to stop those studies to focus on acting. I feel trapped now because I really enjoy acting. But it’s true, I wake up every morning with this idea stuck in my mind that I want to write and direct my own film one day. As I work more and more on different sets, I see how hard it is to be a director. It’s insane the amount of work and confidence that goes into it. I’m so respectful of filmmakers and I admire what they do. I hope that one day I’ll find the right subject and the confidence to try it. I’m still young.

Have you come across any good screenplays lately?

I’m reading a lot, but nothing really interesting. I’m in this very tricky moment in my career where I have to be really aware about where I’m going and what I want to show the audience and the industry. This is a shame, but you have to keep in mind what kind of image you want to put out there. I think the hardest thing for a young actor is to breakthrough and keep working toward a long career. Right now, I’m at a level where I have to pick the right projects in order to maintain a good stature in the industry. I have a few projects coming up in France and I’m going to shoot something this summer with a director friend of mine, a young director.

Aside from a good story and interesting characters, do you look for anything specific when you’re considering screenplays?

I think something has to speak to your identity with every role, both as an actor and a public figure. So you have this kind of repetition from one film to another, from one part to another. At the same time, you need to try and find the right balance and be able to move from one character to another where you can surprise the audience all the time. Obviously, the idea is to work on characters that I never really explored before and projects that are different from what I’ve done before. I like working with new directors and different styles of film. I think the more you work as an actor, the more you’re looking for parts that are the furthest from what you are in real life.

I guess Hannibal Lector is a good example. What kind of pressure were you under with Hannibal Rising?

It was terrifying. When they asked me if I wanted to do this project, I refused many times before finally agreeing to it. I didn’t think it would be a good idea to pick up this role after Anthony Hopkins because he did the most amazing job in creating this character. Also, working on this role with a French accent was a bit awkward. It was meeting with the director, Peter Webber, that really influenced my decision because he was really witty and had interesting thoughts on how he would make it. I really liked his first film, Girl with the Pearl Earring. Also, being able to work abroad with an American and British crew, shoot it in English, and work on such an amazing and mythical character was what convinced me to give it a try. It wasn’t easy.

Can I ask you about the scar on your cheek? It’s your trademark.

It is. I have to thank my surgeon who did a great job. It almost looks like a dimple. When I was maybe 6 years old, I stayed at my parents’ friend’s country house in France and they had this huge dog. The dog was sleeping on a tree and I jumped on his back like I was riding a horse or something. The dog wasn’t aggressive or mean, but it was just totally surprised when I did that and he tore up my cheek with his big paw. But it’s true, maybe the scar helped me in some way because it adds something to my face. It’s very interesting because it’s asymmetrical. It’s like a dimple that I only have on one side of my face. Many directors have used it for scenes in their films. The most memorable one was in Jean-Pierre Jeunet’s A Very Long Engagement where I’m kissing Audrey Tautou and she runs her finger across the scar. [Laughs]

What films have you seen most recently?

The King’s Speech was a good film. I think it was a bit classical in the directing and I liked that. Then I saw True Grit. I kind of liked it. I prefer their last film, A Serious Man, but this one was also quite nice. The young girl in it is just amazing. I saw this Australian film called Animal Kingdom and I really liked that. It has really great atmosphere and great actors, too. I also saw Black Swan. I loved it. It’s a masterpiece for me. It’s very clever in the way that the director brought together the codes of a B-movie and made it mainstream. Natalie Portman is just amazing.

DP/30: The Princess of Montpensier, director Bertrand Tavernier, actor G...

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