From the sequins of showbiz to the cellars of Paris, the creator of Dix pour Cent traces the thread of the star system and scans the backstage of Comedy Clubs. A new Netflix creation more social than funny, which Fanny Herrero deciphers for us.
Andrea (Camille Cottin) is now based in New York. It is in the megalopolis of the east coast that the next TV movie will begin Ten percenttwo years after the broadcast of season 4. But this American transition will be without Fanny Herrero. The designer passed the hand.
” I really stopped at the end of season 3. I entrusted the rest to Victor Rodenbach. I gave him my child. I dropped ASK for good, and even if I’m never far away, I’m no longer in the loop… “The Emmy Award-winning screenwriter has since joined the streaming platform on which is justly a hit. Call my Agent all around the globe. Fanny Herrero is now 100% Netflix, with Funnya brand new original series made in France, which has the honor of opening the 2022 Series Mania Festival.”After I quit Ten Percent, almost a year went by without me writing a line. I had a sort of rejection of fiction. I no longer used my computer at all. I didn’t want to see my keyboard anymore…”we confess Fanny Herrero.
“ Because I did Dix pour Cent for 7 years! I did just that for 7 years! I had arrived at artistic saturation. » So the designer took time to recharge her batteries. And it was ultimately Gad Elmaleh who brought him this ” little spark », which he missed, to start writing again. ” We didn’t know each other, but we have the same American agent, who suggested we have dinner together. “, details Herrero. ” And at some point during the meal, Gad tells me about Comedy Clubs in Paris. He tells me there’s a lot going on there. Me, I wasn’t very aware of this new scene and the little young people who play in the cellars… Gad suggested that I do a series on it and he took me to a Comedy Club. I had an amazing evening. I had a kind of revelation… It’s a place unlike anything… In an old basement, it smells of sweat. When you come at 10 p.m., we feel that it has lived (laughs). The benches are not very comfortable. The small platform is made of odds and ends. But, in front of me, paraded six young talents in their thirties, from all social, ethnic and geographical origins. A kind of photograph of French youth that you don’t see anywhere else. A youth who speaks here, offers visibility, with the only common point humor! I had the impression of attending a psychoanalysis of France live. »
Don’t look for Nakache and Tolédano
In the aftermath, Fanny Herrero took out his keyboard and imagined Funnya sort of anti-Ten percent, which abandons show-business self-segregation to explore a more laborious and spleenetic side of the profession. The red carpets are over. Welcome to the back of the cellar, where the winding itinerary of the stars of tomorrow begins. ” With Funny, I stay behind the scenes of something and I like that. I like to start from reality. It is an environment that I want to discover. I wanted to approach these people, who are also authors, who like to work on words, like me. We are still navigating somewhere between tragedy and comedy. But basically, we are far from the atmosphere of Dix pour Cent, which is undoubtedly more wacky. Funny is more realistic, rougher, more existential, with less bourgeois characters. We are no longer at all on the side of the agents but really on the side of the artists. We are in trouble, facing a youth who must make choices about their future. These are themes not addressed at all in Dix pour Cent. » The rupture is consummated when Fanny Herrero pretends to bring Nakache and Tolédano in one episode. No, the directors ofUntouchables are not in Funny and the screenwriter admits to having “ good fun by putting it down on paper. ” Because it was voluntary, of course! To mark the nuance. And besides, it was a pleasure to no longer have the constraint of thinking about intrigues centered on the guests “.
No celebrities in sight. No comedy stars in the cast. Mariama Gueye, Younes Boucif, Elsa Guedj and Jean Siuen are the four main characters in the Netflix series. Four unknown young actors who burst the screen, to embody these budding stand-uppers, without themselves being aces of the slamming valve: ” I didn’t want to take real stand-uppers to play their own roles. I have already donated with Ten percent. I wanted to get away from that. I still didn’t want to be asked the question of true and false, of the limit between reality and fiction. »
“Funny doesn’t necessarily mean hilarious”
Nevertheless, to write all these moments on stage, it was necessary that Fanny Herrero surrounds himself with joke professionals. The screenwriter has thus entrusted the writing of the pure stand-up sequences to real pens. “ It had to be believable and above all it had to be good… Fanny Ruwet, Jason Brokers, Thomas Wiesel and Shirley Souagnon thus collaborated on the series, in an exercise in almost schizophrenic style: The hardest part was finding mediocre jokes, sketches that were not or not very funny, for our beginner characters. For that, they had to understand that they weren’t writing for themselves but for fiction. Each stand-up moment makes sense in the script and happens at a specific moment in the story, to tell something about our characterss”.
Moreover, as its name does not indicate, the series is not really intended to bend you in two. More social than humorous, more endearing than hilarious, Funny don’t always try to be funny: There is something a little outdated, but quite timeless behind this word. It has several very different meanings. It doesn’t have to mean hilarious. Funny, it’s fun, but at the same time a little weird, awkward. You have to be serious to be funny, it’s a job. It’s something rough. There is all that in this word, a promise more existential than mere fun. I hope we have fun, from time to time, watching the series, but its real ambition is to make us feel attached to these people and what they tell us about our country, here and now. » With its in-between tone, the new creation of Fanny Herrero assume of ” not be a frank comedy », half social farce, half funny drama. “So it suits me very well that we don’t find Funny hilarious. »