She is one of our greatest actresses and above all a lover of cinema. Meeting with Sabine Azéma, on the occasion of the Cinéroman de Nice festival, of which she is part of the jury.
With a smirk and a sparkling look, Sabine Azéma has lost none of her childhood enthusiasm. She could be exhausted, she, the great actress of French cinema, who has acted for Resnais, Tavernier, Oury, Chatiliez and many others. She, the actress with two Cesars and millions of admissions. But she in no time did she show the slightest tiredness. On the contrary, she laughs at everything and marvels constantly, at the big and small things in life. “I’m just enjoying the present moment,” she repeats. It’s her philosophy. Sabine Azéma is not one of those people who are always in a hurry, who give you an appointment between two commitments, who arrive late and leave early. She wants to take the time to meet. However, she is very busy: in the last few days she was part of the jury of the fourth edition of Cinéroman, a festival in Nice that honors the relationship between literature and the seventh art.
Paris match. When you were asked to be part of this jury, didn’t you hesitate a second?
Sabina Azema. I accepted immediately. I’d rather be there than on vacation. It is a real cure for the cinema, enriching. We see many films, as many as possible, we get up early, we go to bed late, we talk a lot among ourselves. With the other members of the jury (Pascale Arbillot, Ana Girardot, Pascal Elbé, David Foenkinos, David Hare and the president Danièle Thompson, ed) we have different universes but we are all passionate about cinema. Obviously I knew Danièle, for whom I photographed, whom I adore and admire, she really makes us spend happy days. I had also met Ana while filming. And I’m happy to get to know the others. Plus, Nice under the October sun is amazing!
Juror, is this a role you like?
I have been there several times, in Venice, Angoulême, Deauville, as well as in Cannes, where I presided over the Camera d’Or. I love film festivals, I have always spent precious moments there. But judging by, I don’t like that word.
“When we engage in a recovery, we always give ourselves problems”
Is it too difficult to judge movies when you are an actress?
When I see works in competition, I don’t forget that I too, in my life, defend films. When you engage in a take, you always give yourself problems, not knowing if the result will be successful. A bit like in a pastry shop: we want to make the best cake, but before it comes out of the oven we don’t know if it will be well cooked, if the dough will be leavened, it will be golden and above all if the guests will like it. So I’m judging, but with a lot of respect, I don’t want to feel superior to the film. I never say I don’t like it or that a movie is bad. I just try to understand why a work touches me or touches me less. Besides, you have to tell yourself that sometimes we are the bad spectators.
Are you a bad spectator sometimes?
We are not always in the right frame of mind. For example, I don’t like to watch a movie too early in the morning if I’m not fully awake. I have to be ready to take the job. I remember once, at the Venice Film Festival, where I had to go to a screening at 8 o’clock, and I was really bored. In the evening I was supposed to see the same film again, but there I was made up, dressed, perfumed, and above all there was another audience: you know what, I loved the film, so much so that I voted for it.
“I am very sensitive to the director’s talent”
What makes you love a movie?
I am very sensitive to the director’s talent, more than to the story. So obviously we are always moved when he resonates in us. But I look more at the form, at the frame, at the music. That’s why I go to the cinema. Because the stories I worry all day in my head. There for example, leave me alone in this restaurant, I’ll see a thousand. Observing people on the street, imagining, making scenes for myself, this is my favorite occupation.
Observe, a bit like a painter?
On the contrary, I don’t look like a painter. I don’t look at a person’s physical characteristics. Also, I wouldn’t be able to draw you. On the other hand, I notice the gestures, the postures, the hands, to feel what’s under the envelope. In fact, I’d be more of a psychologist, I think.
You don’t draw, but are you a photographer in your free time?
Again, I don’t do landscapes or portraits, but people who live in an environment. In short, the theater of life. So yes, sometimes, to observe, I arm myself with a camera. It is a solitary activity, unlike cinema, which is a team effort. I like them both equally.
You have never chained roles. It seems that, unlike many actresses and actors, you choose them carefully and sparingly.
First, the director must want to work with me. It is always good to be chosen [elle rit]. And then I say yes or no. I need time to prepare for a role: I document, I read about the era, the subject, the author if it is an adaptation. I often go first to the places where the shooting will take place, to immerse myself in the atmosphere of those who live there. I settle down on the street, observe how they live, how they are dressed. In fact, I prepare the film on my side, I build my character, without anyone knowing, in secret. And after filming, I also need some time to get out of the movie. So I couldn’t have multiple projects at the same time. I always savor the present.
Do you ever get tired of making movies?
Never ! I love the camera too much, it’s magical. You can imagine, what’s in the film will stay on earth longer than me. But I never liked shooting for the sake of shooting. So, I expect to meet people I want to work with. In this work you meet many people. We also make many friends. I had the opportunity to meet Dussollier, Arditi, Resnais or even Podalydès.
The Cinéroman jury will soon unveil its list of awards. Are prices important in an artist’s career?
It’s not the most important thing in a career, but you have to know how to appreciate it. Receiving an award should never seem normal to you, but on the contrary an event, a party. Above all, the reward means we starred in a movie that they liked. So there, we can’t dream better. Of the two Cesars for the best actress I received (for “A Sunday in the Countryside” in 1985 and “Mélo” in 1987, ed), I remember a great joy and above all many emotions. Two years later, I really didn’t expect it.
You have an incredible career, an astounding filmography. Do you think one day to tell all this, in an autobiography for example?
At the moment I really don’t feel like it. It would require a return to the past, and I have no nostalgia. As I told you, I only register at the present moment. Life is too short. But you should never say never.
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