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00:00Vieni a lavorare per me.
00:02Sarete il mastro pasticcere di Francia.
00:04Ti do la mia fiducia per un compito delicato,
00:07rischioso,
00:09importante.
00:13Non devi deludermi.
00:15I'm Elisa, and nice to see you both.
00:18Hello Elisa.
00:18Hi Elisa.
00:20My first question is for Jeremy.
00:23I'd like to ask you how it was to create your version
00:26of such a famous historical figure,
00:30one of the most powerful politicians in that period in Europe.
00:35It's been something very interesting, of course.
00:46I had to comply with the codes of the time,
00:49the fact that he's a noble man and a diplomat and a politician.
00:54However, very quickly, tackling this character,
00:58I decided to also have a more modern take on the man.
01:04And this was according to Martin's,
01:06the director's will,
01:08who wanted to have a more modern take on the show.
01:12So this touch of something a bit more modern,
01:18so trying to apply the codes of the time,
01:20but finding a twist to make them look more modern.
01:24I didn't look or watch other shows
01:27or other projects to reinvent the man
01:33or the character, rather.
01:36Using my body language and the costume
01:41and trying to figure out how this man
01:45used the language
01:52and playing with words.
01:55He was a master of words
01:58so that I could play with the silence
02:03and also the words
02:05and also connecting with other characters
02:10and, of course, the way this changes
02:14over the various episodes.
02:18This show is really big,
02:21such as, I think, the last episode
02:23with all the persons at the banquet.
02:29So I'd like to ask you,
02:29what was the most challenging part to shoot?
02:33We often think that the most important thing
02:35and the most difficult scene to shoot
02:40is when you have a lot of extras
02:49and a lot of materials and a lot of cameras,
02:52but sometimes,
02:53and sometimes the most difficult scene
02:56is the scene more intimate,
03:00with just two persons in the same room.
03:05So sometimes it's more difficult
03:07to find the good things,
03:10the good situation between intimate scenes
03:13rather than the biggest scene
03:17at the end of the last episode.
03:20and, in a way,
03:23the first scene of the first episode
03:26was really difficult to shoot too,
03:29maybe more than other scenes
03:32with horses and with extras.
03:35and, uh, uh, you know that.
03:38È il cibo che fa un paese
03:39come la sua lingua
03:43come la sua arte
03:45è il primo che conosciamo.
03:48Speaking of skills,
03:50I'd like to ask to Benjamin
03:51if he is a naturally talented chef
03:54or how he prepared to be believable
03:57in this role of this exceptional cook
04:00that became the first chef in history.
04:03They gave me a coach,
04:07a cooking coach,
04:08but, uh, in the end,
04:11uh, I, it wasn't necessary.
04:14I was already an outstanding cook,
04:16but, uh, I needed a coach to help me act.
04:19So I had to work.
04:21I mean, the, the, the, the cooking,
04:23I, I could be myself,
04:24but acting, I had to be coached.
04:26And so I'd like to ask you,
04:28how do you prepare to fake
04:29this high level of proficiency in the kitchen?
04:33Benjamin told me before
04:35that he was already very good.
04:36So I want to ask you
04:37if you were so talented.
04:39Bon, c'est pas pour me comparer à Benjamin.
04:41I don't want to compare myself
04:42with Benjamin, of course.
04:44I don't want to be pretentious either.
04:47But I think I'm a very good cook.
04:51Lots of people, you know,
04:53fight to come to my table
04:55and, uh, and I've always loved cooking.
04:59I've always done so with my mother.
05:01I used to lie saying my homework was done
05:04and I could, therefore, could cook with her.
05:07It's a bit more question
05:08for the family.
05:12But this is something a bit different.
05:16I had to acquire more technical skills.
05:19Uh, so, you know,
05:22the sort of things that are required
05:25for, uh, starred restaurants.
05:29and also the fact that you can really be, uh,
05:37sufficiently, uh, experienced and, uh,
05:42seasoned to, uh, to hold your place
05:46in, uh, in a kitchen, uh, dedicated to our cuisine.
05:50And we, uh, studied with Christophe Adan,
05:53a famous chef in France.
05:57So, to acquire these skills,
05:59it's just like sports, you see.
06:01Uh, we had various tools
06:04that we had to use every day.
06:06So, to become really very good
06:09at using them on the set.
06:11and we also had classes
06:13at Ferrandi's school
06:14with Benjamin,
06:15uh, with the, with the, uh,
06:18um, with the students there.
06:20And we were considered
06:22just like other students
06:24in the school.
06:25and we tried to inject
06:27something non-verbal.
06:29A lot of body language
06:30that you see in the kitchen
06:32so as to manage
06:35to understand each other,
06:36uh, you know,
06:38without having to, to speak.
06:41Uh, because this is what is needed
06:43when this is the rush hour
06:44in the kitchen.
06:47I'm such a glutton
06:49that I can, uh, eat the same thing
06:51tons of time.
06:52And I don't like,
06:55like actors who have plates
06:57in front of them
06:57where they have belly touched.
06:59Uh, it doesn't seem right.
07:00Um, as an actor,
07:02you, you have to, uh,
07:05to go out and, and,
07:06and eat the food on the plate.
07:08And the great thing
07:09about the food
07:09is that the food
07:11in the, in the series
07:12was like a real character.
07:13Uh, they paid real care
07:16to make sure that things
07:17was, the lighting was good,
07:19that the, the dishes look good,
07:21that the, the light,
07:22not only the light,
07:23it should be appetizing,
07:25some glowing to them.
07:27Um, um, um,
07:29you could have a zoom
07:30on a piece of meat.
07:31Uh, uh, uh,
07:33and I, I love to look at that.
07:34The way in which food itself
07:36was treated like a character,
07:38it becomes the, the,
07:39the heart of the story itself.
07:40The fire,
07:41the spia,
07:45carem.