With Patrick Ridremont, she finds her first major role in the cinema: a young paraplegic who is offered an Advent calendar with evil “sweets”. Meet.
What made you one day want to become an actress?
Eugenie Derouand: I can’t explain exactly why, but I’ve always wanted to do this. However, I started quite late because I followed a “classic” course of study: bac S then law. And then one day, even though I had no contact, getting started became obvious despite the fear of leaping into the unknown. So I took several theater courses, various workshops. Then I gradually had the chance to start doing my first castings and working.
This course has led you in particular to Police Paris 1900, the series broadcast on Canal + last February …
And I shot it at the same time as The calendar ! And as in Patrick’s film (Ridremont), it was about playing a strong woman, Jeanne Chauvin, who was the first to plead as a lawyer in France. The series is another exercise than the cinema. Because even if I have a recurring role, it is secondary and the shooting is spread over time, over nearly six months. The difficulty is therefore to manage not to lose the connection with what you are playing because you cannot stay in your bubble all the time. But I’m delighted to see this character again in season 2, next year.
You evoked The calendar. How did you spontaneously feel when you read the script for this horror film?
The joy of discovering the incredible richness of what there was to play with this role. The certainty of spending weeks of intense filming.
How did you construct this character of a young paraplegic woman, embarked on a Faustian pact in the Saw : regain the use of his legs in exchange for the death of his relatives?
First, by relying on the confidence that Patrick had in entrusting me with this role. Afterwards, I arrived quite late on the project and I only had a month to prepare. The trigger for me was learning to use a wheelchair and the physical preparation that goes with it to have the essential strength in my arms. And for all this work, I was able to rely on a young paraplegic woman who, beyond her help in enabling me to acquire the character’s gestures, gave me an immense lesson in life. I admire her personality, her strength and I really wanted to do well for her.
Were you stressed out about carrying a movie on your shoulders for the first time?
I don’t think I had time to be afraid. Everything happened really fast. I threw myself into this film without thinking, carried by Patrick’s gaze. I was certainly able to rely on the memory of heroines of genre films that had touched me when I was younger: the Ripley ofAlien, Carrie… And above all I tried to understand what really touched me about this character, what she resonated with in me.
Is there a scene that you particularly dreaded playing?
I really don’t think I had time to ask myself these kinds of questions. This shoot was for me a tunnel as intense as it was fascinating where every day was populated with mountains to climb. But what luck! What excitement!
Which director of actors is Patrick Ridremont?
Caring and precise. He’s a big kid who knows how to create a warm atmosphere on the set and share his desires and desires. He is really someone radiant.
Are you a fan of horror films and anguish as a spectator?
I don’t hate scaring myself every now and then! (laughs) Without being a specialist, I was marked by Suspiria for example and its stunningly beautiful staging, Jennifer Kent’s work in Mister badabook where the Walrus by Thomas Alfredson.