Interview de Sami Bouajila concernant LA FAUTE A VOLTAIRE-608
I had heard about the project because Abdel had already been working on it for a while when he offered me the part. I thought that the screenplay was magnificent and I was impressed by the narrative power of his writing.
How did you prepare for the part ?
We talked about Jallel during long meetings that were a way of discovering each other, of comparing our two visions of things. Abdel soon made me understand that he didn’t want a premeditated acting style, aware of its effects. On the contrary, he wanted me to free my body and spirit and open up to the different sensations that the character could feel. We defined a large number of elements together but not in the usual meaning of the expression. For Abdel, we needed to leave room for Jallel. The film was sufficiently well written and the characters clearly enough defined to make us as available as possible. He solicited us continually but imposed nothing on us.
What is the meaning of Jallel’s experiences for you ?
The character of the illegal immigrant is a pretext to go beyond physical borders and to confront different worlds: Jallel’s past, his origins and the rules of life in France. For me, La Faute à Voltaire is a tale or a fable. It’s also an initiatory story. The character is confronted with the unknown, with dangers, with realities that he has to adapt to and to which his dreams have to conform. His encounters are decisive. Nassera is a character who is linked to a precise setting, with a job, a confirmed personality and clear aims in life along with the energy that urges her to attain her goals. In the scene where they meet, Jallel attempts to free himself and to communicate. He allows himself to be intoxicated by this woman, the setting, alcohol and poetry: but it’s an illusion, a moment of happiness only possible in the café, with the help of drink. But Nassera has both feet on the ground while Jallel is brought down to earth the next day… Despite everything, Jallel is an optimistic character: material obstacles worry him, his situation is an impossible one and yet I find that his vision of things is never less than noble. There is something contemplative and slightly oriental about him.
Some scenes almost seem to be improvised…
While leaving us plenty of scope, Abdel demanded a great deal of rigor from us. That was the only condition possible for us to be free. The director always tried to take into account Jallel’s point of view and to adopt his manner of discovering people and places… While sticking close to the screenplay, he was open to all our suggestions. He simply asked us, through the numerous takes, to find the truth and to get as close to it as possible.
Can you talk a little about your partners ?
The two girls, Elodie and Aure, were fantastic. I was over the moon. The irony of all this is that, in the end, during his stay, Jallel has two very powerful and very different love stories.