How To Make A Killing brings you to unexpected terrain, film noir. But it does deal with some of themes of your previous films…  
It’s almost necessarily so: I cannot, and I do not want to change my DNA. And so, all my films do have a common denominator. Often a personal relationship. In Rolling To You there was a couple, in Rumba Therapy, a father and daughter. And there is a couple in How To Make A Killing. It’s never calculated, it’s never done on purpose. It’s simply indispensable for me. If I made a film without that, I would feel that something was missing. I would feel like I’m cheating. And I don’t want that.

What did the film noir universe contribute?
Something that was more in the background in my previous films: the characters’ roots in reality. How To Make A Killing clearly shows that. Via the context and the details: I wanted us to know that Michel and Cathy shop for groceries at a Super U. From the very start, I made it clear to the crew that we were not making an “American” film. Even though I love that kind of cinema, this is a French film with very French characters, who wear French anoraks, take their kids to school… Even the gendarmes look like real gendarmes.

So important, that even its title roots your film in a specific region, outside the major cities?
That was my first desire. Even before coming up with the story, I wanted a film that takes place in the provinces, in the country, among its inhabitants…

Is that also what oriented you toward a crime film, which very often do take place in the provinces?
Exactly. And that is what may astonish my audience who will feel that this is a very distant world from the one inhabited by my usual characters.  But that procedure is much the same as when I began to write comedy sketches, whose characters were in fact very different from me. How To Make A Killing comes closer to my own tastes as a member of the audience. Even though I do love comedies, I am more naturally drawn to crime films.  

This incursion into film noir invited you onto the terrain of morality and ethics, whereas your previous films revolved mostly around the idea of lies…
Clearly. The title was even “Money can’t make you happy, my ass!” I wanted the film to be as amoral as possible. I wanted to avoid the classic terrain expected from characters in a comedy. Everyone is pretty-looking, nice to know? No! In the real world, not everyone is necessarily pretty to look at or nice to know.

And for the other roles you called on actors you are not usually associated with... Did that also have to do with your desire to enlarge your usual universe?
I went so far as to change casting directors on this film for one more specialized in “auteur” films.  Ultimately, there is only one actor in How To Make A Killing who comes from my universe. Christophe Canard, who plays the priest. All the others, from the forest ranger to the barmaid, come from another universe. Even for minor scenes: like the woman with her babies at the gendarmerie reception desk. My casting choices were in line with my desire to give the film another, more realistic feel.

Laure Calamy and Kim Higelin remain the most unexpected...
I knew that Laure could play both funny and tragic. But it’s what she did in Full Time that convinced me: bursting with energy but at the same time fragile. That was the Laure I wanted, not the more comical one in My Donkey, My Lover, And I. I couldn’t find the right actress for Kim’s part. I auditioned a lot of actresses. Very good actresses. But they all lacked that something original needed for the role. I was about to resort to street casting when someone suggested Kim. Her originality, her contemporaneity won me over. And then there is Joséphine de Meaux. Her aura of melancholy has always moved me. Aside from the empathy audiences feel for her.

On the other hand, Benoît Poelvoorde seems more in line with your comic universe. But you pushed him toward a more subdued register than he is used to.
Generally speaking, I immediately told all the actors: “Be careful, we’re going to make people laugh, but this is not a comedy. You need to act serious all the time. It will only be funny when it has to be.”  That is how I directed them, and they all respected my indications. I think that Benoît was delighted to abandon himself to his character. It would be a lie to say that we’ve never seen him like this before, but I think that here he was able to combine all of his various acting styles. Moreover, he had some voice problems during the shoot. At first, I was afraid that we might have to post-synchronize him. But no, that hoarseness brought a little something extra to the role.

How to Make a Killing / Un ours dans le Jura is now playing in cinemas.

Foto: (c) Julien Panié (c) 2024 Gaumont, Pour toi Public productions, France 2 Cinéma.

Benoît, what made you want to accept this project?
Benoît Poelvoorde: I found the script very funny. And then it’s a true story, part of which the director experienced himself, and that moved me. He wrote a novel about it first before writing the script. I read them both, I liked them both equally, then I said: “Yes, OK, I’ll do it, but with whom?” For comedy to work, there must be right chemistry between you and your co-actors.

Valérie, when Benoît knew that Ivan Calbérac was thinking of you to play his wife, he also called you. What did he say to persuade you?
Valérie Bonneton: “There’ll be two or three nude scenes, they’ll be fine... don’t worry!” (laughs). More seriously, as soon as I read the script, I wanted to be part of this family: the Chamodots. Together, they make their way through life’s ups and downs, even though the two sons are a bit ashamed of their parents. Despite what Émile goes through and the fact that he must bear barmy neurotic parents and day-to-day life in a caravan, there’s a lot of love between them, certainly some awkwardness but above all, love. That’s what touched me.
Benoît Poelvoorde: They are nevertheless exemplary parents when it comes to patience and generosity. Launching into a journey to Italy just because the little one wants to find his love in Venice... I don’t know many parents who would do that!

Ivan Calbérac says you both resemble his own parents a little. Do you recognise yourselves in Annie and Bernard?
Benoît Poelvoorde: Yes, in his “Mister Know-it-all” attitude. A guy who shows off all the time. That’s exactly me! (laughs).
Valérie Bonneton: Annie accepts that by educating, one makes fatal mistakes. Like her, I try to accept them. I’ve got little ones of my own.

Valérie, you say you take a long time considering the angle from which to approach a role...
Valérie Bonneton: Yes, I read the script then put it aside for a while. For this film, I relied on the script then trusted to the alchemy with my partner and the director. Once on set, I didn’t know how Benoît was going to play it. My acting also depends on his, and on the director’s instructions. Then I just go with the flow. I like the idea of not knowing what’s going to happen.

Moving on to Hélie Thonnat, he is in almost all the scenes. How did you approach them with him?
Valérie Bonneton: I’d say always in the same way: Benoît enjoyed making him laugh before every take.
Benoît Poelvoorde: It’s a way of making children relax when facing difficulty. There are different ways of putting them at their ease: the Austrian way, the German way and then my way, which is all about making funny insinuations. I think Hélie now has an unusually large vocabulary of crude words! But what could be better? When you laugh, you forget why you’re there, and once it starts, you act naturally.
Valérie Bonneton: Benoît behaves like that with me too. As soon as the camera’s rolling he gives it his all. He’s a magnificent actor. But between every take, he tells jokes. Being distracted before a scene, I love that. Then when we start to shoot, that gives me an adrenalin boost, which means I’m much more present.

What sets Valérie apart from other actresses?
Benoît Poelvoorde: Her joie de vivre and her acting! She acts exceedingly well, she’s the best! And then she’s not fussy. She’s not the type to call over to the director with questions like: “Tell me, Ivan, what psychological angle do you want to convey when my character acts like this or that?” Nothing’s complicated with Valérie. It’s a joy to film with her. I had a blast. And she’s naturally generous. She likes people to be cheerful around her, so makes sure they’re happy. Valérie is a real ray of sunshine.

And you, Valérie, what is special about Benoît?
Benoît Poelvoorde: The same but more so (he laughs).
Valérie Bonneton: Benoît is a good person, truly kind. In this profession you sometimes meet people who aren’t like that at all... also naming no names ;-)
Benoît Poelvoorde: It’s funny that you’re not asking for some names (he laughs). Would you like some?...

Benoît, in the film we see you enjoying a song: Black Blood’s A.I.E (A Mwana), which you sing at the top of your voice in the car...
Benoît Poelvoorde: Oh wow! Don’t remind me of that tune ... Particularly as I’m going back to Namur by car... I was belting out that song for an entire day. It’s nice when you hear it once, but eight hours of A.I.E (A Mwana) blaring out ... It’s really proof that cinema’s just laughter and glitter.

You relax others but how do you relax?
Benoît Poelvoorde: I go away by myself to read. I read, I read, immersed in book after book.

How did your shooting go in Venice?
Benoît Poelvoorde: Three weeks before we left, Valérie was all fired up: “Great! We’re going to Venice”. I told her: “You’ll see, it won’t be as simple as that”. Valérie saw herself dressed in black, preparing pasta alla vongole with Italian friends around her, or on a candlelit gondola floating off into the night. But once you’re there, you work. And for that, Venice isn’t practical. I’ll always remember one sequence: just for that, I should have been paid three times my salary!
I’m with my son - Hélie Thonnat - a beautiful setting at the edge of the lagoon. And 10 seconds later, we’re being attacked by a thousand mosquitoes. It was hellish, even though they seemed to appreciate the child’s fresh young skin rather than my leathery old face!
Valérie Bonneton: But it was fantastic too! I was staying in a little cabin on the edge of the lagoon...

One specific theme addressed by the film is the influence of education, of transmission. What do you think about the issue:
Benoît Poelvoorde: You very quickly descend into clichés when you talk about the family. I’d prefer to let Valérie answer. She understands the problem better because she has two children.
Valérie Bonneton: Many parents pass things they’ve found difficult on to their offspring. It’s important not to make your children relive your failures. The film shows that loving them is respecting them, accepting them as they are. It seems simple when you say it like that, but it’s actually very complicated.

What do you think makes this film attractive to the public?
Benoît Poelvoorde: Its humour, and characters who are a bit crazy but full of love. This trip to Italy.
Valérie Bonneton: And the Chamodots: an eccentric, special family, full of tenderness, moving and funny... In whom everyone can recognise themselves... Irresistible people, in the sense that they accept who they are!

Venice Calling can be seen both at the cinema and online on the Play.HappyCinema.ro platform.

For cinema program: https://happycinema.ro/happy-bucuresti/m/chemarea-venetiei-1444

For watching online: https://play.happycinema.ro/programs/chemarea-venetiei-venice-calling

Venice Calling is the adaptation of the book with the same title by Ivan Calbérac and will be release in 6 cinemas of the Happy Cinema network from Romania: Bucuresti, Buzau, Focsani, Alexandria, Bistrita, Bacau on Friday, March 5th.

Emile is fifteen. He lives in Montargis, between a sweet-crazy father and a mother who has always dyed his hair blond, because, it seems, he is more beautiful like that. When the girl who pleases him more than anything invites him to Venice for the holidays, he is overjoyed.

But there is one problem - his parents decide to accompany him! This is the story of a teenager born into an unclassifiable family, the story of a first love, miraculous and fragile.

This is the story of an initiatory and incredible journey where life often takes unawares, but where Venice, it will be at the rendezvous.

Venice Calling can be seen both at the cinema and online on the Play.HappyCinema.ro platform.

For cinema program: https://happycinema.ro/happy-bucuresti/m/chemarea-venetiei-1444

For watching online: https://play.happycinema.ro/programs/chemarea-venetiei-venice-calling

Emile is fifteen. He lives in Montargis, between a sweet-crazy father and a mother who has always dyed his hair blond, because, it seems, he is more beautiful like that. When the girl who pleases him more than anything invites him to Venice for the holidays, he is overjoyed.

But there is one problem - his parents decide to accompany him! This is the story of a teenager born into an unclassifiable family, the story of a first love, miraculous and fragile.

This is the story of an initiatory and incredible journey where life often takes unawares, but where Venice, it will be at the rendezvous.

The Cast: Benoît Poelvoorde, Valérie Bonneton, Oudesh Rughooputh, Gigi Ledron.

The price for access to the film for 24 hours is 12 LEI (VAT included).

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Enter https://play.happycinema.ro/ and start the movie marathon!

The novel Venise n'est pas en Italie (Venice is Not in Italy or Venice Calling) by Ivan Calbérac, was published in France by Flammarion in 2015 and soon became an international success.

Benoît Poelvoorde and Valérie Bonneton are the parents of a 15 year old teenager, in this comedy telling six weeks of his life.

Emile is fifteen. He lives in Montargis, between a sweet-crazy father and a mother who has always dyed his hair blond, because, it seems, he is more beautiful like that. When the girl who pleases him more than anything invites him to Venice for the holidays, he is overjoyed.

But there is one problem - his parents decide to accompany him! This is the story of a teenager born into an unclassifiable family, the story of a first love, miraculous and fragile.

This is the story of an initiatory and incredible journey where life often takes unawares, but where Venice, it will be at the rendezvous.

In Venice Calling will star Benoît Poelvoorde, Valérie Bonneton, Helie Thonnat, Eugène Marcuse, Coline D'Inca and Luna Lou.
The Film is produced by Eric et Nicolas Altmayer (Mandarin Films), and distributed by StudioCanal.

Prorom has acquired the rights for Venice Calling in the following territories: Romania, Bulgaria, Czech Republic, Hungary, Moldova, Slovakia.