Episode 36: A French Village Christmas! (Part 2)
Part 2 of Sarah and Ben getting a special visit from members of The French Village cast, Marie Kremer (Lucienne) and Constance Dolle (Suzanne), as well as showrunner Emmanuel Dauce. Taped in-studio with translator Eve Gaumond.
Speaker 0: Hello, everybody. Welcome to a French village podcast I’m Sarah Longwell. As always, I am joined by my brilliant friend, Benjamin Wittice. And today, as promised, we are talking to Marie Kramer who played Lucie Anne on the French village and constant doll who played Suzanne I hope you enjoy our conversation. It was incredibly fun to have.
And, yeah, let us know what you think. Okay. Thank you both so much for being here. It’s wonderful to meet you, to see you in person Marie Constance. I don’t know if you guys it sounds like you guys listened to two episodes of the podcast we did, the very first one and the very last one.
So my first question is, what did you think of our French? How was it? So so how much? So one thing so a lot of the feedback that we get they’re just just for the listeners, they’re real staring at me. Like, they what I’m talking about.
But from our our listeners were get very annoyed with us because our French pronunciations were so bad And I have to confess
Speaker 1: that I didn’t listen to you, but No. That’s such a relief. I’m I’m very sorry, but I can’t have any opinion on your French. But — Yeah. — I’m sure it’s very good.
Speaker 0: Your English is is is considerably better than our French. But it is it’s really amazing to see both of you here in person Constance, you play Susan, who as we were just discussing, does sort of feel like the pure moral center of the show. And I gotta tell you, he is like your biggest fan. He was I’m so glad. And I mean, both of us, we it’s it’s a little unfair to Marie who played Lucy yen, who I think had like a
Speaker 2: slightly I’m usual.
Speaker 0: Yeah. You’re used to it. But tell us about how you came to the character? What did it feel like to to play that character for such a long time? Must have been like a hero in France.
Speaker 3: So at the beginning, she didn’t know what would happen to Suzanne. So So when the writer today came in first saw the the filming of the show and they saw Suzanne and Marcel that were working well together, and they really looked like a real couple. They decided that they wouldn’t be a couple all along the series. But it wasn’t clear at the beginning. So at the beginning, you had Marie, which was more a goalist.
And FedEx given the writer Todd that age, it would be interesting to have another character, another woman character that would be more lefty and would never take took a legends to anyone, not any time would she pledge a legends to the
Speaker 0: gulf?
Speaker 3: So the heroism of Susan was discovered during the time that they were filming. But So the interesting part of Susanne is the fact that she’s totally free and she does not follow what woman should look like at that time. She decides that she would be free, she would not enter the party, she would abandon her daughter and really live following our own moral principle and not what society would say. And even with two men at the same time.
Speaker 4: So I’m I’m interested, Marie, for your sense of of how you came to it and how you understood Lucy Ann is one of the most complicated, inscrutable characters in the show. How did you understand what she was going through?
Speaker 2: I I come from Belgium. I don’t understand anything, you know. Just doing. I’m just like Christian in fact. No.
No. I maybe I I try in English. If it’s too bad, you can say me. It’s like a little bit like Constance, I I discover a little by little. And I’m really growing up with that character because I was, like, twenty five at the end of the show, I was thirty five and that was, like, really a stranger for me all the time.
That’s what’s really strange. There are really strange characters and I was like, it was a strange mix between maybe some side of me that I don’t know and the character that really and little by little, I understand more, and I try to never generalize usually. I really tried never to judge her, but sometimes that was so odd for me because I hate her. Okay. And I am sometimes I I really want to
Speaker 3: I really wanted to defend her. What do you mean by I guess it was about
Speaker 0: because
Speaker 3: so she was really a controversial character. And I recall that it was an interesting character. Given this time. So as opposed to Constance characters, so Susanne, Lucy Ann was really not she was really a character of Earth time, and she was not free in any sense.
Speaker 0: There
Speaker 3: are so many things that were hidden and that I didn’t want to know and discover from her. No. Sumantai’s capacity to predict the the the demargine. It was the audience that had to imagine that. So my understanding was that did she having a very catalic education.
And she didn’t really have a mother. We never heard about her mother. So she didn’t have a feminent presents in her life and no model.
Speaker 0: Bookservialism.
Speaker 1: So
Speaker 3: she was there to serve men, and when she fell in love with a German man, and when she was very very young, then she had nothing to do other than felt co scalability, some Catholic cat scalability, which was the only sentiment feeling that she could
Speaker 1: and it
Speaker 3: was really her burden to carry, like, the the the world culpability. It was really her burden to carry all along the show.
Speaker 1: So
Speaker 3: she felt much culpability to fell in love with a German man to not love a man that was loving her and fell in love with a priest. What worse can you imagine? It’s l
Speaker 2: a l barts
Speaker 3: So she was carrying her own prison. She was, like, kind of in jail in our own vicinity. And I think that this jail is something that we still carry as women today’s day and there are more and more women that feel free, but that’s that’s still a burden that we are careing as women.
Speaker 2: We want to be free, but we come from Catholic education. And that’s not so easy. And she’s dead. She’s dead. And that was a fighting for me because me, I was a young woman, and I was in Paris, and I was and I was like, looking at in the eyes of people in front of me, I play characters before I when I was like that in my character.
And then, suddenly, I’m not Eric. I’m not nothing. I’m not I nothing. It’s some inside of you, there is some rage about that character. But she’s like that.
And one day for the night creeping, I told that yesterday, but one day for the night creeping come to me after seeing raw sheets, I don’t know the name. And because I was, like, a little bit more in in my character, I I was, like, a little a little bit more like me. No. You know, I was like and I was I want to look at the eyes and I want to to be you like, I don’t know. And for that, I couldn’t even say, no.
Okay. I look at the rash. It’s not okay. Okay? Some some ladies that time and some ladies today look always on the ground and you need to keep your eyes on the ground.
And I said, okay.
Speaker 3: I hate him, but it was my my
Speaker 4: I
Speaker 2: don’t know. I I respect him. So I I I okay. Okay. I will do that.
Until the end, I I will do that. It
Speaker 0: is amazing to see you and meet you having spent a lot of time with my head in the show. Because you’re so different from Louisiana. I hope, you know. Just but I mean, like, completely the way you talk. You’re very funny.
You’re, like, sarcastic. And and Lucy Anne is this incredibly although I will tell you, we argue about Lucy Anne on the show. Quite a bit, people who who write us letters about the podcast, you know, they would get mad at me because I defended Lucian a lot because I actually I always thought about Lucy yen as, imagine you’re a person who just wants to live a nice life. Like, you’re a little bit of not a silly person, but, like, you’re just a person. You’re just and then, like, the world collapses on you in this way, and you’re put in these situations that you never expected to.
I don’t blame Lucy yen for falling in love with a German soldier for being a young woman and like falling in love with somebody who was kind. I don’t know. I I I imagine it was a it was a hard character to play because there was an element of bad decision making. And yet, she was put in some impossible situation. She couldn’t live the life that she really just wanted to live falling in love with the person she wanted to love.
Yeah. But there
Speaker 2: you know, there was one scene with her father and I remember really well that she’s used to be to
Speaker 3: So there was one scene that really is important to Mary. It’s the scene with her father. And at one time, they have a discussion together. And she just told him,
Speaker 1: can I
Speaker 3: just live my own life, please? And this is so powerful for Mary because this is Lucy Anne. This is the or all of our character is she just want to live her life. And there’s nothing more contemporary than that, this theory. Yeah.
Speaker 1: Go ahead. So I
Speaker 2: But almost, I just said, just one thing, it’s
Speaker 3: So for me, historical movies and series are, like, zooming on emotions. And it’s it’s a way to really increase and have a big focus on emotions. And this is exactly what Vifilash Jose is. It’s zooming on emotion and exacerbating emotions.
Speaker 1: Yeah. So
Speaker 4: I want to ask you both the same question that I asked Emmanuel. One of the reasons that we’re so interested in this is that it felt like an extended meditation on with an ex a sort of extreme story, but a kind of extended meditation on the the sort of complicity that we have been dealing with in this country for the last five or six years. And it’s obviously at a different scale, it’s a different intensity, it’s a different level of evil, but it’s it gives you a very useful prism through which to understand how to think about certain political figures in this country, how to think about the henchmen of certain political figures. And I guess Constance, I’ll just start with you. I’m curious to what extent, if at all, you were thinking about modern times when making this show.
Speaker 1: that match, actually. Because as Emmanuel said, the war has some
Speaker 3: So I wasn’t thinking all that much about the the the current events. Because we’re as such big and hard questions such as are we telling the truth? Are we telling some lies? Is it important to sell the truth? And so these were question that we really were focusing on and not as much as, like, what’s this happening at the
Speaker 1: the current era. I appreciate it. The the the way we we can read the the theory, everybody can take it for himself. I mean, if you, it’s Trump, great. If for me, it’s another thing, great too, you know.
But I think it’s way of thinking about if something is moving for us. If it’s a movie for cinema or the TV show or something else, a documentary movie. If it can just make you progress and make you ask some question for you. If you’re, like, very divested by the the deaths of Mary Jean Marc, Maybe it concerns you very deeply, and it’s only you who can know why it’s so deeply deep deep devastation for you. I can no for you, you know.
Maybe it’s your history. Maybe it’s your memory. Maybe it’s your ghost. You know, but it’s not my deal. It’s not my it doesn’t concern me.
What is what is very interesting. It’s why in a country or in in in in the world show a movie something with which it’s art can move yourself and and change and provoke some universal, you know, some some emotional complexities. Yeah. Yeah. That makes
Speaker 0: complete and total sense. So you in the show, you spent a couple seasons with Marcel and a couple seasons with Antoine. Which one did you like better? Not the person, but which which situation? Like, would you shoot it you know, did you like the early seasons when you were spending a lot of time with the communists or later on when you were with the resistance?
Speaker 1: It’s because Marcel is dead, you know, and she has to find some ways to rebuild herself. What Emmanuel said about Marie Germane and maybe the sadism or mesmerism. It’s interesting because maybe she didn’t want to to live after. I think Susanne, she wants to leave. She didn’t want Howard to rebuild her cells.
And Antoine is a way to rebuild her, maybe to feel young, maybe to have sexual life and to take care of somebody. But it’s not as interesting as Marcel Marcel, when you want to hurt her, when you want to kill her, when you have to kill her, she said, okay, you’re going to to kill me, but just I would like you to know that even if you kill me, if we were in another time, I would marry you. I love you very, very, very strong and I can’t I can’t view. When I when I read the script, when Marcel did, I phoned San Rizio, and I said, it’s awful. I don’t want to to leave you.
And when we have to make the scene, I made a, I didn’t know how to say that in English, but I didn’t want to play. I didn’t want to play because the bed was not the good bed and because my closets were not the good closets and I didn’t want to play this thing. And the the real leader, Jean Philippe Pama, came and said, okay, I have to talk with you a part. And you don’t want to play this thing, but you have to do it. So go.
But it was very, very hard for me, very, very hard.
Speaker 0: It was hard to lose Marcell. Yeah. So I’m
Speaker 4: interested in whether you guys are surprised that the show has I mean, it’s such a it’s such a French story. And yet it has this kind of resonance all over the place elsewhere. Does that surprise you at all? Who
Speaker 2: is it? Kenneth? Yeah.
Speaker 1: You you
Speaker 3: you understand? Yeah. Yeah. She she just said, oh, if you’re a Canadian Oh.
Speaker 0: We
Speaker 1: don’t know if it’s another theory what the audience can be. Emmanuel is arrogant. So he said, I was sure it it’s gonna work and But we don’t know. We don’t know. It’s magic.
It’s like a miracle, you know, when it works around the world because our history is history is very different. Socially, politically. But maybe if it works, it’s because as Emmanuel said, It’s a picture of humanity’s
Speaker 0: The
Speaker 1: way the the
Speaker 3: reason why it works is because it’s a picture of, like, human emotion. Lies compassion, passion. This is the reason why the show works so well. And
Speaker 1: we are we have to deal every day with that kind of emotion every day. I mean, everybody. So it’s not maybe tramp in the in the nineteen sixteen or and, you know, it’s just that we have to deal with it every day And maybe it’s – that kind of history is more or vivid. Yeah. But today, you will have to deal with something which which is incompatible for you?
Speaker 0: Well, that’s an interesting point. So because of the time that we’re in politically, the show has special resonance. It means something different to me than if I had just watched it as entertainment. If I had just watched his entertainment, I still would have loved Suzanne and loved Marie because they are big female sort of heroes. And I still would have loved the Lucian like, one of my favorite scenes and I one of the reasons I would defend Lucy yen especially in the early episodes because Ben had not seen Lucy yen disabled the radio yet.
And I love the scene. That that, like, triumphant part for Lucy Anne where she does the thing that’s not really part
Speaker 1: of her
Speaker 0: personality that she does something so uncomfortable. It made it such an exciting scene. So you’re you’re right that it it has something. But because of the time we’re in, you know, the scene where Suzanne at the end is talking to Edmund at the end
Speaker 1: of the
Speaker 0: show, and she basically says, I’ll never talk to you again. I’ll never see you again. I think people like us in politics right now, we are starved for heroes. We are starved for people who take stands based on something moral, something bigger than themselves principle. And so Suzanne was a wonderful character to watch.
Because she had that sense of right and wrong and didn’t get moved by it. You could mostly trust her to do the right thing.
Speaker 1: Lucy Anne,
Speaker 0: to do the wrong thing often.
Speaker 2: Yeah. Does
Speaker 1: well, she she she does the right thing for her. Yeah. I think there is an idea of good and wrong, you know, but she’s very sincere, honest with herself first, with what she’s feeling, with what she’s believing, in. And maybe if because the you know, the the policeman I am with at the hand.
Speaker 4: Oh, yes. Laureate.
Speaker 1: L’Oreal. L’Oreal. Yeah. Second year. Oh my gosh.
Yeah. L’Oreal? Is not quite a very good man. I mean, when you have to work with Markete, you worked with Markete. But Cesar doesn’t care because he is capable to listen to her.
He is capable to build something with her with Marcel didn’t do didn’t didn’t make, you know? So L’Oreal is kind of normal, a normal people. But she I think maybe she’s love. She loved him. So it’s not heroic to love love, love you.
It’s just that she’s very sincere with filling and an emotion, you
Speaker 2: know. In fact, when we talk you you talk guys about that. I cannot do an another thing to to think to do writer because it’s from direct living, do that, the text of that, you know. And that’s crazy in fact because the complexity of each characters
Speaker 0: So the
Speaker 3: complexity of each character comes from Felipe and his team of writers.
Speaker 2: The metro, the the longer grounds,
Speaker 1: So I think it is the
Speaker 3: work of the writers to induce some complexity in the each character, to make each character complex in its own way. And this is what makes the show so interesting. Yeah. Was was
Speaker 0: Lucy Ann so complex though that she what was the whole thing where she was, like, for one season, she what’s her who is what was her name? The the woman that she was in love with is for
Speaker 1: What I mean? It’s maybe the fact Five season. It’s
Speaker 2: season five. I really don’t know.
Speaker 1: What
Speaker 0: did you make of Lucy Ann suddenly having a lesbian affair? Because
Speaker 2: it was really you want to know — Yeah. I I really respect for the, like, leaving, like I said, and I I I respect synergized in general, you know. I I I my job is playing. But at one time, really, I was really tired to
Speaker 0: to
Speaker 2: make stupid things like bacellobelle, metallism, clear, or equal, all all that.
Speaker 3: That’s one point I was so so freaking tired of, like, sweeping the floor or, like Yeah.
Speaker 2: You can still You beat one of that, you know. And I I I and I and I remember I I call him and I was really, like, I I don’t care. I come from Belgium. I don’t care. I I don’t realize what was TV show of Cinema in France.
And I said, okay, I will tell you that I don’t I’m I’m enough, you know. I I want to do something else. And I I remember, I I do that. I called him to to say that. And just after that, he if he he put Christian to fall in love to a woman.
I was like, oh, it’s it’s a little bit extra, no. But he didn’t do that. So
Speaker 0: It was fun diving fact. That’s amazing. Because it was it did seem like an a strange Twist for her. Yeah. Yeah.
Speaker 2: Yeah. I know. What did you say? Interesting because
Speaker 0: it was interesting. Won’t you love this
Speaker 2: Won’t you bounce So when when
Speaker 3: you think about it, like, she hasn’t anything to do. So she falls in love. And with uma, does does she fall in love with the only person that there is — Yeah. — that there was the lady that is free and, like, all opposed to her.
Speaker 0: So
Speaker 3: today’s day, women falling in love with women. It’s It’s still hard. In France, it’s still not very much accepted, but the the feeling, it’s still there. Like, you fall love with someone. You are interested in someone.
You’re enmired or someone. And
Speaker 2: Yes. She’s front of her, and she’s so different. She said, no. Always always, always, always, always, will remember that that was a real important moment for
Speaker 0: me.
Speaker 3: Right? So
Speaker 1: so yeah. So
Speaker 2: And you said was on outside with children around her, and it’s it
Speaker 0: was
Speaker 3: There’s a key moment for me in the in the story between And this key key moment is when she asked the opportunity to save Margaret. She’s with some kids and she could go and save Margaret, but she doesn’t. And this was so It was so zen. Yeah.
Speaker 1: So
Speaker 2: For an extra, you know, it’s so And really, I I don’t know if you really understand that for me, that was a a moment she responded And I find that the director take that moment. And I was happy to see him to take that little moment. You work you work always with the the screenwriter and the director. Always always. You are nothing without them.
And we are nothing without the the partners. I’m nothing without Margaret. I’m nothing I’m I’m really listening A absolute more person. Sombrero person. Sousin is absolutely no one if Bayou
Speaker 3: is
Speaker 2: not there. Yeah. I play during, yeah, ten years, Respario. I know nothing about that that nothing about him in real life. And I love him.
I I love that. It’s it’s really great actors
Speaker 0: and give a lot to listen, you know. You don’t know anything about him in real life? No. Not really. Why?
Did you not did you not talk to each other?
Speaker 2: Yeah. We talk about just the present. We talk about what we do, we talk about to work, and I really respect that. I don’t need my partners don’t need to be my friend. Maybe he can.
But during ten years, yes, I play with someone with a lot of respect and no. I don’t know where he where he is. I don’t know who is that person, but he just was he he play with Christian. That’s strange story, but yes.
Speaker 4: So before we wrap up, I I wanna ask you both what your what you have done since on the last film from say, what what what what do what comes next? That’s for you and children.
Speaker 0: Do you have two kids see it. What what and they get to stay in the story. Right? They’re there. How old are they?
Two and five. Mine are five and
Speaker 2: three. Oh. Yeah. We are clothes. Yeah.
Speaker 1: you?
Speaker 3: Well,
Speaker 1: I wear pregnant twice. During the show — What? — during the season two and during the season
Speaker 2: six. With
Speaker 1: the the the long coat, you know. I had with the old the entire when I I shoot the Malaysian, you know, I was, like, pregnant. Of seven months. Wow. All the all the season night was pregnant.
And the manuel was very cool because it didn’t say, no, no, no, it’s a problem. You can’t do it. So the character of Shazan has to disappear for this moment. Yes. Sometimes at the contrary, there was double, double and It was so great from it’s a very good producer and a very good team.
Very, very It’s a great team. Yes. So after I I stay in the politician system with Bajonwa, which is a theory about political contemporary, political in France. And I I play even the goal, which is who is very different from Susan. But, you know, it’s like quite, quite resilient.
So it was very interesting to work even the goal after Susan Akshay and a lot of different movies like a fantastic movie or an theater because I I play at least once a year at this theater. And the the the last show was Denise Kelly. I don’t know if you know Denise Kelly. It’s a very famous Britain writer. And it was a very, very good play.
And it was a critic experience because it was I was loone on stage during one hour and a half and Like a one woman show? Yeah.
Speaker 0: One woman
Speaker 1: show. Wow. Far.
Speaker 0: Are you are you super famous in France? No. It’s super famous.
Speaker 1: To see
Speaker 0: you when you
Speaker 2: walked on the street? No. No. No. I mean, it was really never my commande to reboot.
It’s it’s never
Speaker 1: been my
Speaker 3: goal to me. Yeah.
Speaker 2: Actually, I’m right. I’m I’m really begun to write and I want to to direct I want to make my my own top, you know, I don’t know. I
Speaker 3: want that to make my own group and And I I
Speaker 2: work with FedEx Living since, like, six months. And we arrived serious together. Wow.
Speaker 1: Yeah. Did you know that there was, like, something about documentary. Yeah. So I didn’t I
Speaker 2: didn’t see the
Speaker 0: I’ve only seen clips from it. So I’ve seen an interview with the guy who played Mueller. From it where he’s, like, sitting on a in
Speaker 1: my head,
Speaker 0: he’s sitting on a tree stump, but that’s probably not what he’s doing. Yeah. You do that.
Speaker 1: Yeah. It was a way of to close, you know, this kind of work. And we we we spoke with Emmanuel, and the idea was to make something to, like, a testimony, you know, around and we did it. So it was very interesting to do it and to share with my partners. Is it interesting?
Do is it
Speaker 0: strange that it’s just becoming popular in the United States? Like, this has been over for you guys for a
Speaker 3: long time. Right?
Speaker 0: And then there’s a bunch of people in the US who are suddenly seeing it on Amazon — Yeah. — because it it came on Amazon maybe during the pandemic. And so the reason I watched it in part, my father-in-law said you should watch the show. It’s great. But there’s the reason was that a lot of people were like, yeah, I can do seven seasons of something right now because you were just trapped inside.
Yeah. And so it’s popular here. We have a lot of like, writers and people who are involved in politics, you know, who talk about it, write about it. We were at an
Speaker 1: expense because
Speaker 2: if if a movie can can go on, no, never never end. That’s great. We began
Speaker 1: the show in two zero zero eight. You know, so it’s a long time ago for it. I
Speaker 4: think if it had been available in the United States in two thousand and eight, nobody would have watched
Speaker 2: it. Celine, why? Because Not really to do that. When no.
Speaker 4: Because I think it the the deep resonance of it for many people here — now. — has to do with now. Mhmm. Has to do with two thousand sixteen. Wow.
And it has to do with the sense that for many of us half the population of the country, maybe a little bit
Speaker 1: more. That the
Speaker 4: election of two thousand sixteen — Yeah. — that the day the tanks rolled into Villeneuve is not the it’s it’s a metaphor for it. It’s not a direct analogy, but it’s not the craziest metaphor for what we went through over the last four years?
Speaker 2: You know? So it has nothing
Speaker 3: to do with but she always wondered how Americans are with you guys were feeling this election of Trump. Yeah. Yeah. Yeah. Yeah.
Speaker 0: And
Speaker 2: I can hear you, and I know that that was
Speaker 4: really hard snow.
Speaker 2: So for many
Speaker 0: people,
Speaker 4: And I I let me just turn the table around for a second.
Speaker 1: There
Speaker 4: was a sudden Americans have always thought of ourselves as exempt. From this problem. We don’t we don’t historically have a fascist movement.
Speaker 1: We
Speaker 4: have channel. We have our own problems. We have our own racial problems. Our
Speaker 1: own history
Speaker 4: of slavery. I mean, we have our own problems. But we don’t have there was never a significant fascist movement in the United States. And particularly for Jewish Americans, of which I’m one. There’s just a very deep understanding that the United States and Europe are different.
And so I think for many Americans, of a traditional conservative, traditional left traditional middle bent.
Speaker 1: What happened
Speaker 4: in two thousand sixteen was completely unexpected. And just not something that we have a had a vocabulary for. And it produced and you’re sitting in an office that represents that very unusual political coalition. Very unusual friendships, very unusual alliances of people who wouldn’t normally think of themselves as on the same side of issues. And so in that context, to watch a show where one day the
Speaker 1: tanks roll
Speaker 4: in and everybody has to decide what the most important thing to them is, and who will work with them on that thing. It is not
Speaker 1: a cruising
Speaker 4: metaphor for what we went through. Yeah. I’ll just
Speaker 0: thank you. The thing about the show and the time, because this is right, the the election of Donald Trump was a shock to the system for a lot of people. Even somebody who’d been So if I’d I’d worked in Republican politics, Donald Trump wasn’t a Republican. He wasn’t even a fascist. He was a reality television.
Post. He was a joke. He was a clown. You know? And so the idea that he could say racist things or crazy things and that Americans would be for it.
Speaker 1: me, it was not
Speaker 0: about Trump. It was about Americans and the voters. Right? And so
Speaker 3: so, like, the show so
Speaker 0: if you’re So I spent this period of time feeling totally confused by people. And so you go looking for answers anywhere. And I found some answers, opaque. But I found interesting things about the show, about people, and the way that they go along with things even
Speaker 2: when they’re terrible, crazy, wrong. Why people make those decisions? I think they really need to do that project. That’s Emmanuel talk about. That that will be really interesting.
To to have that that inside of this country. But that that’s so interesting now that we do that. I think we do that
Speaker 0: because
Speaker 2: I’m really moved by what you’re but what
Speaker 3: by what you’re saying because that’s the reason why we’re doing this job, why we are artists. This is because we want to move people This is because we want to open people’s idea, open people’s mind and to see that it works. And the way that you’re talking about that
Speaker 0: we
Speaker 2: don’t have answer. We just need to make make question now. Well, then this is actually why
Speaker 4: we did the podcast. Because there was a and, Sarah, having talked about the show in a lot of contexts persuaded me to watch it and persuaded me that we needed to talk about it
Speaker 1: in
Speaker 4: the context of the life that we were
Speaker 1: living episode
Speaker 4: by episode. And that’s what the podcast was, and it was very self consciously an effort to think about to think about
Speaker 1: the show
Speaker 4: as as a meditation on the problem that we were dealing with. I’ll be it in a Not the same not
Speaker 0: the same problem, but people hardly, you
Speaker 1: know, of actually, what’s what’s I can feel it that what is so violent is when you can’t recognize yourself in a social contract. And what happened in maybe in France during this period and in the United States a few years ago, it’s that everybody can feel isolated. Very very isolated and the response is not in the the the body, the social body. You feel like if you were totally connected from the group. And maybe the fiction can bring you some answers and say, It’s not the first time in the history.
It’s not your personal problem. It’s a problem. And maybe we can just think about it and have some reconfought. So because it’s like if you said, okay, I believe I I was living in a word, but it’s not it maybe it wasn’t true. Maybe it’s just nightmare.
Maybe I’m I’m not true either. And It’s a very cataclysm. Yes. Hopeful. But it’s the same maybe with social network.
Social, you know, social media. Social media. You said, okay. So I have to validate my existence with a finger every fucking second, you know, to say, okay, I just want to leave and it’s okay. No.
I don’t want to have an okay every day and said, I’m just a a slave of something which is like bullshit. You know, it’s the same. I mean, it’s the same. It is the
Speaker 0: same. Because people are always people.
Speaker 1: Yeah. Well,
Speaker 0: this has been amazing. Thank you so much for coming and doing this. I can’t tell you what the show meant. So just meeting you and having you do this, just wonderful. Thank you so much for reaching out to us to do it.
Why are you in America? By the way, what are you doing? Because
Speaker 2: we because you can explain. When
Speaker 4: when you receive an award tonight, the franchisee, let’s see here for We’re coming.
Speaker 1: There will be I am. Yeah. Yeah. It’s for that. We
Speaker 2: are here for
Speaker 1: that. Yeah. We just spent two days, three days here. Just for the award and to have the pleasure to meet people like you and to share and because we can just move from one month to the United States. It was not possible before, and it’s so hopeful the future life you know, that even if there is an event which can permit us to move and to and too many people.
Okay. Go go go go go. Yeah. Well, welcome
Speaker 4: to Washington, and thank you for joining us.
Speaker 1: Yeah. Thank
Speaker 2: you. Thank
Speaker 0: you. Get an inside look at Hollywood with Michael osin bomb. Let’s get inside Debra and Whoa. If you have to choose between true blood, dare double to do again. Partially because the Marvel series feel unfinished to me because we got canceled when we thought we were gonna have more.
Whereas True Blood, we did get to wrap it up. I knew that we were wrapping it up. I could say goodbye. To everyone. I stole something from the set.
You know, I didn’t get to steal anything from our daredevil set. Inside of you with Michael Rosenbaum,
Speaker 1: wherever you listen.