Catching Up With... Paris 36's Christophe Barratier and Nora Arnezeder

French film Paris 36 by writer/director Christophe Barratier (The Chorus) is so many things: a musical trying to be a war film with a singer trying to be an actress with new songs sounding like old songs with a newcomer on the brink of stardom playing a newcomer who becomes a star. Paste caught up with Barratier and actress Nora Arnezeder about the film set in the pre-World War II suburbs of Paris.

Paste: In this film there’s a sense of a very accurate portrayal of France at that time—the town, the people, the factory.

Christophe Barratier: I did a lot of research and documentation. I knew the area very well because I am a big history addict. The only thing we have to know about is that in this period, in the 1930s in France, we were living in a tough period of crisis. And suddenly a prime minister named Leon Blum was elected and had represented for all the people of France a wonderful hope that life would change. That’s very funny because what I saw with all people of America, how they were smiling and raising hands when Barack Obama was elected. It reminded me, exactly, of the same mood that we lived in France in the '30s when the prime minister was elected. That’s very amazing.

Paste: Interesting. And you said in one interview that the French were dancing on the edge of a cliff.

Barratier: Of course, because in ’36 when this revolution rose, workers would get two weeks vacation. All the people were dancing and singing like our life would change, etc. And they didn’t feel, really, that on our frontiers with Germany and Spain and Italy there was arising a big danger.

Paste: There was a wolf at the door.

Barratier: Yes, there was a war at the door, and they didn’t see anything. And it’s very ironic because the French were dreaming to see the seaside and actually, four years later, they saw the German army on the Champs-Elysees.

Paste: When you were casting for the character Deuce you were looking for a singer who could act. Explain.

Barratier: There are actresses that are not very gifted at singing. But suddenly they decide to become a singer. And there are singers who decide, because they are famous, to become an actress. But I was sure I could find a girl around 18 years old who could really be both. When you see Nora on screen of course she is singing but I think she is a wonderful actress, and she was singing absolutely perfect for the director. So, when I did all these auditions I was searching for three parameters—a good singer, a good actress and above all somebody whose face would be absolutely extraordinary on screen. I was very lucky to find her because she is really a total artist. I think in America you see this distinction well. In France it’s not so usual. And I really think I found a total artist, and that’s not frequent.

Paste: She’s outstanding. And all of your principal actors have very definable qualities. There’s almost, if you don’t mind me saying so, a character-actor style. It reminds me of some of the old classic films, even the American musicals from long ago. Is that something you try for?

Barratier: Yes, of course I’m very fond of those movies. It was part of the inspiration. But it was important to me not to do a tribute. I did want to make a movie of that kind of archetype of the '30s but with modern means. That is why I hired American cinematographer Tom Stern who is really a master of the form. And I was sure, like he did with Road to Perdition and Million Dollar Baby, he would be able to make incredible photography. That is why I use a lot of cranes, a lot of trees for the background, a lot of steady cam shots to give a kind of renovation of the '30s style.

Paste: There’s one part of the film where I would almost call it a dream sequence because the musical production is way beyond what could realistically be done on stage.

Barratier: That is really inspired by a movie I saw by Busby Berkeley called Footlight Parade with James Cagney. In this movie they’re producing a musical on Broadway. And Busby Berkeley set this form. Suddenly there is no more theater. We are somewhere else, like a dream. Then after, for the end of the song, we come back a little bit to reality. And that was, for me, such a delightful idea to make this tribute in Paris 36. Of course, it’s a bigger surprise in France, this sequence. It’s something that hasn’t been done before since the '30s.

Paste: I thought it was a wonderful tribute to Busby Berkeley.

Barratier: Yes, I’m modest, but I try. It was a modern invention I tried to make right.

Paste: How are the American audiences receiving the film?

Barratier: I have to take care because sometimes the people are just polite. You know how it is. But it is an incredible reaction. Sometimes more than we had in France. At the New York premiere we had a wonderful standing ovation of two thousand people who were very enthusiastic.

Paste: The music is wonderful. When were the songs written?

Barratier: I received the songs six years ago. I took care of these songs as soon as I could. For the composers, they were very happy, because they wrote the songs maybe 10 years ago, but they did not know what to do with them. So I got the idea to make a great melodrama that could be a “once upon a time in Paris”. And I think these songs are a very important part of the film and the film gives a very important tribute to the songs.

Paste: Yes, the songs sound both old and new.

Barratier: Yes, thank you very much, because that was the idea. If you read the lyrics they are not from the '30s. Most important was the emotion of the music.

Nora Arnezeder talks about her first major film role.

Paste: How did you hear about this role?

Nora Arnezeder: Christophe actually wanted to find a singer and an actress. My agent told me and I did the audition.

Paste: Christophe has spoken about the similarities between you and your character, Deuce. A young singer starting her career, lots of potential. How much of you do you feel like you put into Deuce?

Arnezeder: What was really funny about that character is that she comes from the north of France and she arrives in Paris to be a singer. And I come from the south of France and when I went to Paris it was to join a music school. So it's like the same, you know? So, at the beginning when I met the actors like Gérard Jugnot, Clovis Cornillac, they were all family. They knew each other a long time. I was like the newcomer. And I was really shy

And it’s like my character—she arrives, she’s a newcomer.

Paste: Tell me more about Deuce.

Arnezeder: At the beginning she doesn’t feel real confident about herself. She really wants to be a singer. She loves music and she loves people. She’s a young ingénue and at the beginning she has this little voice and after, her voice becomes a woman’s voice.

Paste: And she seems to become more confident. Now that this film is out and you have made this press tour do you feel more confident?

Arnezeder: Oh, I never feel real confident about myself, you know? Each time we present the movie it’s like the first time. The difference between presenting the movie in France and in other countries is that I feel more comfortable to speak to people in English because it’s like it’s not me. I always try to find my words in French and I don’t want to say stupid things. In English it’s more like I’m another girl. I can’t explain to you why.

Paste: Is it like you play a part?

Arnezeder: Yes! Exactly.

Paste: As a singer did you have ambitions to be on stage, on Broadway?

Arnezeder: It’s one of my dreams to be in a Broadway show. Yes, of course.

Paste: In your next film are you singing?

Arnezeder: No, I’m not. But I’m recording an album. And I have several projects but not with music.

Paste: What kind of music will be in the album?

Arnezeder: I really like jazz music so it will sound a little bit jazzy with electric guitars and saxophone.

Paste: Did you know much about the history that was going on around Paris in the film, before World War II?

Arnezeder: I knew it thanks to school. It’s part of our history. When Christophe called and said “Would you like to be a part of the project?” I was so happy I went to the bookstore and did research.

Paste: Would you like to be in an English speaking film?

Arnezeder: Yes, there are a lot of directors that I like. Or even a Spanish or Italian film. But the thing is, I really, really enjoy speaking English so hopefully I’ll play one day in English.

Paste: You have personal favorite actresses?

Arnezeder: Yes, I like Kate Winslet. She’s one of my favorites. Cate Blanchett. I love Scarlet Johannson. She’s great.

Paste: Now you’ve been compared to actresses from that era of the '40s. Are there actresses from that era that you like?

Arnezeder: Yes, Audrey Hepburn. She was an amazing actress. She was more than beautiful. She was so touching. She’s my favorite.