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Laetitia Casta on the cover of Version Femina, December 2006
Laetitia Casta on the cover of Version Femina, December 2018
Kinga Rajman on the cover Version Femina, April 2025
Photographed by June Miller
source: instagram.com
Aga Wojtasik on the cover Version Femina, June 2024
Photographer: June Miller
source: instagram.com
Dans Version Femina.
Merci @folichonneries
Interview d'Adèle Haenel : "La relation avec un réalisateur fait tout"
by Clara Géliot - Version Femina, July 16, 2014
At the age of 25, the young actress has already had a 12-year career and continues to rise. This summer, her lagoon eyes will light up André Téchiné's L'homme qu'on aimait trop and Thomas Cailley's Les Combattants.
What did it mean to you when you found out about André Téchiné’s project?
Adèle Haenel - One of the great French directors. When I was told about the project, what mattered was him, because I knew that Téchiné was an interesting and precise director of actors, someone who has a point of view and obsessions.
Did you follow the Agnès Le Roux case, which is the subject of the film?
Adèle Haenel - I became interested in it because of my role. And when I arrived on the set in Nice, I was struck by how the city still vibrates around this story. All the taxi drivers, the bistro boys, the people we were talking to had an opinion about what happened. It’s a fascinating case because it was never closed. The latest twist even happened when we had finished shooting.
Was it difficult for you to portray a character who was based on an actual person?
Adèle Haenel - That was mainly André Téchiné’s concern. He was a real stickler for the facts because he had to be straight with the people involved. I was content to follow his instructions. Taking on a role is always a form of contamination because, on the set, you’re at the disposal of the film and the character. But acting is also the art of transforming feelings and sensations. The technique remains, which is sometimes a challenge, but anything that is difficult is motivating because it forces you to work.
Was it intimidating, playing opposite Catherine Deneuve and Guillaume Canet?
Adèle Haenel - At first, I felt like an interloper, so I told myself that I had to make sure not to get fired. My shyness faded when I realized that I wasn't a trainee and that I belonged on the set. I was able to enjoy these two great acting partners and it became much easier. The standards were very high, but I had generous collaborators.
You followed up with Les Combattants. What did you like about this other project?
Adèle Haenel - At the time of the casting, I hadn't read the script, but the scene I had to play made me laugh. I immediately liked Thomas Cailley’s spirit, which was both funny and witty. But the relationship with a director is everything: it's this bond of trust that allows you to surpass yourself, to take risks. Behind the humor of the script, I found a depth. It was about youth, the way you invent your life, how you invent yourself and how you join forces with someone.
Was the shoot very different from André Téchiné's?
Adèle Haenel - It was both a big change and a continuation. André’s film was made with experienced people; we were in a working relationship of enormous precision. Filming with Thomas was a bit like a horde: we crossed the Landes like a bunch of mad people. I found it wonderful to film in that order because the first gave me an essential rigor for the second one. And the acting profession always requires a connection between what you let go and what you control. Spontaneously we can say to ourselves that it’s best to let go, but being supervised by someone ultimately prevents you from going to places that have already been explored.
Both films were presented at Cannes. What do you like about this festival?
Adèle Haenel - Ten of my films have been to Cannes. I've been there five times and my relationship with the festival has evolved. The first time, for Les Diables, I was 12 years old and I was quite anxious. But when a film is well received, it's an immense pleasure. Cannes is the place where you can take the temperature of what's being done and what’s appealing to the crowd.
Do you have a competitive spirit?
Adèle Haenel - In my profession, I'm not sure that it's the most useful thing. If I really want a role, I'll give myself 100%, but a lot of things won't be up to me. I don't want to impose myself everywhere; there are roles that I would have dreamed about playing, but that other actresses I love have played. It's good that there’s diversity because all these actors bring a healthy competition.
What memories do you have of your César award for Best Supporting Actress for Suzanne last February?
Adèle Haenel - It was a powerful moment. Being nominated several times before had already seemed huge to me, so winning it was very moving. Receiving love from other people is not always easy, but you have to know how to accept it because it gives you confidence.
Do you feel that you are living a different life than that of other young women your age?
Adèle Haenel - I don't think I'm missing out on anything. My career has taken off since this year, but I don't lead the life of a star.
You are a committed woman. How is this reflected?
Adèle Haenel - I don't pretend to believe that I have answers to society’s problems. The place where I bring a minimum of politics is in the cinema and through my roles. Beyond that, I’m interested in certain subjects such as film financing or the status of contract workers.
You are also sensitive to the feminist cause…
Adèle Haenel - Yes, of course. And I also reflect that in the roles I choose. I don’t want to be part of the kind of films that convey sexist clichés. That’s a basic criterion for me. But I feel that the political requirement meets the artistic requirement in this case: if clichés are conveyed in a screenplay, it’s because there’s a lack of invention, of freedom.
You’ve taken an HeC [École des hautes études commerciales de Paris] prep course. What did that provide you?
Adèle Haenel - It gives you a mental structure that promotes efficiency. It's a fairly handy tool for auditions. But if I had taken any other training course, I would surely have used other things. Since I didn't go to drama school, I use what I have.
What are your plans for the summer?
Adèle Haenel - I’m going to take part in a CCAS (Caisse centrale d’activités sociales) tour in the EDF holiday villages. Along with three other actors, we’re going to perform Le Moche, from a trilogy by German author Marius von Mayenburg, about the shifting of identity. Then we’ll take up the trilogy again at the Théâtre des Quartiers in Ivry. It’s great because the project was set up with next to no money and it was sold out. And at the end of August, I’ll join Léa Fehner's set for her next film, Les Ogres.
How do you keep busy when you’re not working?
Adèle Haenel - These are precious moments when I rehearse, I set up projects. But I also take advantage of them to see my friends, read, go to the cinema or bike to interviews, like today!
Her personal details:
Born February 11, 1989 (Aquarius), in Paris.
Family «Large!»
Film Head-On, by Fatih Akin.
Book Voyage au bout de la nuit, by Louis Ferdinand Céline.
Music Reflektor, by Arcade Fire.
Travel «I would like to go to Chile.»
Style Indress
Perfume Serge Lutens
Dish «I like everything...»
Motto «This line by Dupont from Tintin and the Picaros: 'Blindfold us?... Never: a Dupont wants to look death in the face.'»
L'homme qu'on aimait trop, by André Téchiné. In theatres July 16.
Les Combattants, by Thomas Cailley. In theatres August 20.
[Please don’t repost this anywhere, in part or in whole. Feel free to reblog, or at least cite your source and provide a link back here. Asking permission would be nice in an ideal world, but I’m a realist - I know far too well how easy it is to appropriate stuff on Tumblr. I would be the first to admit that my translations are not perfect - there are some words and phrases that simply do not drop neatly into an equivalent in English, and I constantly fix typos and make changes or corrections in older posts - but they do take a lot of work and time. Thanks for understanding. - C.]
Sara Giraudeau par Yann Rabanier - Version Femina
