Interview with François Ozon
IN THE HOUSE was inspired by the Spanish play The Boy in the Last Row by Juan Mayorga...
I was particularly struck by the teacher-student relationship when I saw the play. We root for both the teacher and the student. Both points of view are presented, by turns. Usually students learn from their teachers, but here, the learning goes both ways. And the back-and-forth between reality and writing lends itself to a playful reflection on storytelling and the imagination. These somewhat theoretical questions are really brought to life in the play. The Germain-Claude relationship represents the essential partnership in any creative endeavor: the editor and the writer, the producer and the director, even the reader and the writer or the audience and the director. When I read the play, I saw a chance to speak indirectly about my work, the cinema, inspiration and its sources, what it is to create, what it is to be an audience.
Interview with Fabrice Luchini
Two years after POTICHE, you worked with François Ozon again...
I didn't expect to do another film so quickly after THE WOMEN ON THE 6TH FLOOR. I'm no glutton for action, and the theater takes up a lot of my time. It just happened. I can be swayed by charm, I let my feelings guide me. If someone is courteous, elegant, funny, simpatico, talented and we like working together, I'm in.
Then there was the script. I don't know how to read scripts, I'm only mildly interested, if at all. My daughter usually decides for me. But in this case, something stood out. It would be unthinkable to turn down a script this rich, this suspenseful. Finally something new but not abstract, something that felt good, was ambitious but not psychological.
Interview with Kristin Scott Thomas
What were your impressions when you read the script for IN THE HOUSE?
I found it funny and light, yet not superficial. It poses questions, makes you think about the roles of teachers and students, about art, and about our obsession with reality shows. Particularly through the character I play, who is totally hooked on the story Claude is writing. Jeanne has a very voyeuristic attitude toward the Rapha family. Her attitude is very much a part of our time, we are all extremely curious about the lives of others, as evidenced from the popularity of tabloid magazines. Not something to be very proud of!
Interview with Ernst Umhauer
How did you feel when you read the script for IN THE HOUSE?
I was struck by the similarities between Claude and myself. At his age, I wasn't "the boy in the last row", I was the boy in the second-to-last row! And like Claude, I was pretty good at writing but not much else. Of course Claude and I are also very different. We don't have the same background, we weren't born in the same place, we don't have the same aspirations. I would never go to people's house to ruin their lives! But it was unnerving, especially in my first major role, to find myself back in my teens and back in school, a place I'd been so anxious to leave.
Interview with Emmanuelle Seigner
How did you meet François Ozon?
We met long before this film, in 2007, for a project with a female character in the vein of UNDER THE SAND. It was about a woman who falls in love with her son's friend, a character similar to Esther but in a more dramatic context. I love François' films. I very much wanted to work with him, and I was so disappointed when that film didn't get made.
Interview with Denis Ménochet
Comment s’est passée la rencontre avec François Ozon ?
De manière classique. Mon agent m’a appelé pour me dire que j’avais des essais avec lui. J’ai passé un premier tour, puis un deuxième avec Emmanuelle Seigner parce qu’il composait le casting par couples. Et trois semaines plus tard, il m’appelait pour me dire que je faisais partie du film.