Rebecca Marder, who served on the boards of the Comédie-Française for seven years, now plays the principal parts in public and critical hits in the movie.
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| French actress Rebecca Marder |
I have a reasonably clear recollection of the day I came to sign my contract. That was a flood of emotions. I experienced a mysterious sense as I walked through the passageways filled with waves and ghosts. I got the same emotion strolling through the gallery of busts on the day I arrived to audition. I had a cardboard mouth, was sweating profusely, and was utterly immobile. I had never imagined myself as a member of this theater or performing in this capacity. It is a pleasure to be able to work within this constantly moving machine. --Rebecca Marder
" It's a steady pace, and I was quite fortunate to realize that." I know I'll never be able to play like this again in my life. I was immediately thrown in the deep end. I'd already performed in front of a classroom audience, but never before in front of a paying public. I began by traveling all of France's cities for fifteen months. The fact that I had to confront myself in front of varied audiences accelerated my growth. And then, simply seeing these players was an apprenticeship; seeing them find the spark every evening, even if the play had been performed more than a hundred times for some... I even forgot I was acting at times and pretended to be a spectator. They were delivered to me by capillary action. Coming in contact with sacred creatures accelerates your growth and drives you towards perfection; the first year, I felt like I grew 10 years in one year. You break your leg, your mother dies, and you bet because if you don't, you lose the evening's earnings. The show must go on; the theater takes precedence. " ---Rebecca Marder
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| Rebecca Marder interview |
Rebecca Marder is seen in the film after departing the Comédie-Française on a last duplicate of the Cherry Orchard. Since 2022, she has been present in all genres, from musicals (his first passion) to personal and political dramas to biopics. She recalls her parts in Noémie Lvosky's A Great Magic, Michel Leclerc's The Tastes and Colors, Simone, Olivier Dahan's Le Voyage du siècle, and Sylvain Desclous' Big Hopes.
It was five degrees and I was playing the barrel organ on a cart in the midst of a field in a sequined trikini, it was intense, and then with Michel Leclerc we were on a barge traveling between the Parisian locks, it was a mad delight. In Noémie Lvovsky's film, there was a day when it was July and we were scheduled to perform a group dance and sing, and it began to rain downpours of Breton water, and I thought to myself, "We are truly singing in the rain, I am realizing the dream of this profession.
I studied all there was to read for the character of Simone Veil, whether it was biographies or texts she had written herself. His voice was also incredibly inspiring to me. Over the four months leading up to the shoot, Olivier Dahan had urged me to listen to it for at least two hours a day; his unique style of pronouncing the m's, a's, and then a fairly closed labial. I've also seen her in interviews or public speaking, and it's amazing to observe how she always has a deep look, stretched between the dead and the living. She has an unmistakable appearance; after all, it wasn't a matter of mimicking him, but of paying him the highest possible honor by being devoted to him while retaining a portion of instinct. Olivier Dahan wanted to maintain a young ferocity for the role I portrayed.
Performing in a film is significantly different than acting in a play. We are in the present for two hours in a type of gambling trance at the theater, and in the cinema sometimes you have to be concentrated for 30 seconds, then it's cut off and you have to wait thirty minutes for the camera to shift direction. axis. Because there is no chronological order in cinema, remaining focused and maintaining a type of common thread throughout the scenes is crucial. The companion, I've discovered, is what allows me to stay in the present. He has you act out the situation, and then there's nothing else to do. ---Rebecca Marder
Source: Radio France