She runs, rolls, has goals, surpasses herself, presses the trigger, turns at full speed on her bike, hides, fights, often bluntly, hits it, she takes it, avoids it. Few words, rather fists and net and effective shots. Marine Vacth, 34 brooms, revealed in 2013 in the Young and beautiful From François Ozon, he tries for the first time (and brilliantly) to the action movie with Niels Schneider (also generous in the genre) and Emmanuelle Bercot in Moody By Guillaume de Fontenay, in theaters this August 6.
The actress embodies a French secret agent responsible for eliminating a weapon trafficker in Syria, but, betrayed by the DGSE, she decides to disappear without leaving any trace and rebuild her life under the Moroccan sun until the day her partner is attacked. Trapped in her past, she rushes in the lead towards revenge. A very physical and unprecedented role, which could mark a new step in its actress’s career.
What attracted you to this role?
Marine Vacth: It had been a long time since I wanted to play in an action movie. And this proposal came at a time when I wanted to take care of a martial art. When I was younger, in fact I practiced judo for a few years, before stopping at the age of fifteen. I was also very impressed by Guillaume de Fontenay movie, Sympathy for the devil [porté par Niels Schneider et sorti en 2019, ndlr]. This movie, MoodyHe reached the right time.
Do you often offer this type of action paper, very physical?
No, it was the first time.
So that These are these roles so weird Do you think?
French cinema produces little, unlike Hollywood, which manufactures large budget action films in quantity, and knows how to do them very well. Perhaps it is also less obvious for filmmakers to imagine an actor in a universe very different from what he generally knows.
These action roles seem to become a necessity in the career of the actresses. French. Many of them were tested, such as Mélanie Laurent, Adèle Exarchopoulos, Léa Seydoux or Marion Cotillard recently.
I don’t think so. The actors and actresses are often delighted to face a new universe. But not all are sensitive to it, neither as a spectator nor as an actor.
Specifically, how have you prepared for this role?
I returned to the sport with a physical coach five months before shooting, which was really necessary to find a good cardio, gain muscle explosiveness and keep the movie very sustained. And a month before the start of the filming, I worked with Alexandre Vu, the film’s waterfall stage and his team. We have seen ourselves three times a week. The objective was to learn the basic concepts of the specialist’s profession, that is, learn to fall when you receive a blow, give it and receive it without touching, handling the weapons, moving or adapting to the staging, since the blows must be used in a certain way depending on the angle of the camera. And I also followed a training for a few days to learn to drive a motorcycle. Until then, I had never climbed a motorcycle … when my character had to be a very experienced engine. But, of course, I doubled during these scenes.
Precisely how did you work with The specialists and specialists?
Essentially I was duplicated by Alexandra Boisseau, who supported me throughout the filming, which lasted thirty days, which is not for such a film. But I did almost everything. This is also the reason why I really wanted to make this movie: to invest completely in paper, in fights, very physical and waterfall scenes, as far as possible, of course. It was surrounded by a formidable team of specialists, both humanly and professionally.
Is there an action scene that has marked you particularly?
There is a dangerous combat scene to shoot, which opposes the character played by Niels Schneider, mine on a very narrow and very steep staircase, with cutting steps. We gave the superposition to our floors on the top floor, as soon as we had to play falls on the stairs. So we did everything, except the cataracts and the rolls-Boulés on the stairs.
Was it the first time you worked with a specialist?
Yes, which was very interesting. She was still by my side to love me in the gestures, the positions to adopt. His presence was essential.
Have you enjoyed this shooting experience?
Many, even if it was very intense. I’ve never trained so intensely for a movie!
Could you rebuild other action movies?
Oh yes, I would love. I would like to be able to train even more and even more sustained if a new opportunity arose in this way. And I would like to do even more things during filming, more fights, physical scenes …
Do you already have proposals in this regard?
No, not yet.
Play Hollywood, where these roles are more numerous and More cultural, are you tempted?
If they offer me an interesting project, absolutely!
Can you tell us a little more about your collaboration with the filmmaker Guillaume de Fontenay?
Working with Guillaume was lovely. It is necessary in its staging, in its intentions. He is attentive to the smallest details and his gaze is fair, sensitive. His first references were the Jason Bourne By Paul Geenggrass, movies that I love deeply as a spectator. Guillaume wanted to approach, more modestly, of course, a universe, a character like this, but in the feminine. What immediately made me want to work with him.
Source: BFM TV
