GTO 3987 on Mulholland

GTO 3987 on Mulholland

Tuesday, May 12, 2009

Sylvie Yarza talks about (Interview) version française with Stephen Mitchell‏

Q: What aspect of your own character did you bring to this role?

SY: Playing back and forth between one's own identity and the role of 'Nathalie Dussolier' and seeing personal experiences form into a new molten fiction taking shape is a very exciting adventure! In fact, I was surprised by the ease with which I slipped into the skin of Nathalie, or should I say Nathalie into mine because that is the subtlety of the game that is (Interview).

Q: Did you have any difficulties in performing this role?

SY: I was quite worried because I am accustomed to rehearsing to prepare a role. I never like anything that looks like an improvisation on stage or before the camera. Yet it was very pleasant and fascinating. Once the camera rolls, one is carried into a parallel world familiar yet strange but everything seemed to flow from the source. Stephen, with his questions, is the director that is pulling the strings and taking us from one scene to another.

The only difficulty was that, at a crucial moment, I had to answer an important question. Stephen had directed me a few minutes before taping that, as the character, I did not know the sequence of events being discussed, so I found myself in a void trying to think of an answer to his question. There was vacuum in my head, but I kept my calm and Stephen maintained his silence. I finally used this time of silence to intensify the distress of 'Nathalie Dussolier' facing her fate.

Q: What was the method of working with Stephen?

SY: Stephen has the knack to grasp and to understand the essence of your being, your life, and from this not only build a custom role but also direct you to other forms of improvisation during the interview. With great insight, he can handle the game to its conclusion in a very human and reassuring way. The experience is very intriguing, never before seen. Without really being the character, he brings you to embody one's own clone but with a different trajectory. And at the end, back on dry land and in the present, the performance served to affirm a double echo of truth.

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