Heroine of the France 2 series “(Almost) perfect love”, Maud Baecker confides in this boosted romantic comedy and her character as an eternal blunderer. And evokes “Tomorrow belongs to us” and the filming of the TV movie “Le Mystère Daval”.
AlloCiné: What did you like about the scenario of L’Amour (almost) parfait and the role of Julie, called Jul, when they were offered to you?
Maud Baecker : First I read the casting test scenes and immediately I was like “This role is really a gift, it’s a real French Bridget Jones”. He has a lot of misadventures, it’s great to play. And then I loved his relationship with his girlfriends, with his family, with the guys.
And then, on call-back, I met the director, Pascale Pouzadoux, and just for her I wanted to land this role and be part of this adventure. She is incredible. It’s so much her universe, she is very colorful. And after I discovered the rest of the cast and I understood that I was going to be extremely well surrounded. So it’s really a whole: the script, the role, the director, and the partners. Everything was in place for it to be an idyllic shoot and it was.
We feel a real chemistry between Nadia Roz, Isabelle Vitari, and you. Did it immediately stick between you three on the set?
Yes, what’s great is that we’ve seen each other before outside of filming. We had lots of friends in common, but the three of us had never met, unlike the boys I had already met or with whom I was already friends. Pascale therefore wanted us to have dinners, weekends before filming to create this strong friendship.
Obviously, very quickly, we found points in common, we told our lives, and that allowed us to quickly find our place in this trio. And we really became friends in life. A very strong thing was created between us. I love them, they’re very funny, they both do one-woman shows, and I was constantly at the show with them. And so, from the first day, we were already great friends, it was obvious.
How does it feel to have Antoine Duléry and Evelyne Bouix as fictional parents?
It is one of the very beautiful gifts of this extraordinary shoot. They are both actors that I admire enormously. And on top of that they are wonderful human beings, very funny and very kind. To be surrounded by partners of this level, who in addition are loves in real life, it was idyllic. I was realizing my childhood dreams.
Jul is quite blundering, dreamy. Is it a composition role or do you have points in common with her?
I have a lot in common with Jul (laughs). I’m clumsy and clumsy like her, I talk a little too much, I sometimes say things that shouldn’t be said (laughs). Maybe not as much as her, fortunately, but really that’s the kind of thing that could happen to me. She’s the queen of blunders, and I find myself in this awkward, very spontaneous side.
But she dreams so much of great love and Prince Charming that it makes her touching, in her spontaneity and her clumsiness. We want her to realize her dreams. And, fortunately, love will catch up with her and she will get caught up in the game, like in any good romantic comedy.
Can we say that the message of the series is that there are a thousand ways to love?
It’s exactly that. There are a thousand ways to love and there are a thousand different loves. This quest for love, which is the most beautiful quest in the world, is what the series highlights. And then, sometimes, we think we love something or someone, and finally we realize that this is not what we need. Each character has their own journey in the series. And then we deal with love across several generations, it’s very interesting and very fair I think.
And then, behind this quest for love, there is also a discourse on parenthood that we discover little by little through each character, who has a different relationship to motherhood or fatherhood. Is that also what you liked about the screenplay, which goes further than a simple romantic comedy?
Completely. This is Jul’s anchor point at the start. The parents she had necessarily make the person she is today. That explains why she has this sensitivity and this fragility. We realize that many things are linked to her father, whom she knows little about. It will unravel a lot of things in her and allow her to chart her own path. Everything is connected.
You had already played in A baby for Christmas and Love at first sight in Andalusia on TF1. Are romantic comedies a genre that you particularly like as a spectator and as an actress?
Yes I love that. To watch is great, and to play even more. It’s so good to have these little bubbles of madness, fantasy, love, dreams. And it’s great that France Télévisions dares to broadcast this kind of program because it’s not at all what they are used to doing.
It had been over 15 years since they had done a romantic comedy, since Clara Sheller. So to try this again in the form of a series of 6 episodes, it’s a daring bet. And we hope that the bet will be successful and that the public will be there. Right now, especially, with everything going on outdoors, it’s important to put on this kind of series. It feels crazy, it takes us elsewhere. Lightness is good.
What were your references at the time of filming?
On the set, Pascale Pouzadoux often referred to Bridget Jones, Mary at all costs, and Four weddings and a funeral. She really comes from cinema, so she had those kinds of references, with slightly whimsical and colorful heroines.
You had taken a break from filming Tomorrow belongs to us for the time to film L’amour (almost) parfait. Is this “breathing” important to you? Does it also allow you to come back re-energized, charged with new energy on Tomorrow belongs to us every time, and not get bored?
It’s a real chance, because Tomorrow belongs to us allowed me to have lots of proposals and to gain greater notoriety. I was able to do Les Mystères de la choir for France 3, this series, several singles with TF1, and it’s a crazy chance to be able to move from one universe to another and explore all these very different characters. And I also hope to be able to return to the theater this year if all goes well.
I really measure how lucky I am. And we organize ourselves each time on Tomorrow belongs to us, I warn production very early on, and they release me. But I’m always delighted to find the character of Anna Delcourt. I love this character and I don’t feel bored at the moment. So if I can continue to do things alongside the series, that’s fine with me.
You have just finished filming Mystery Daval for TF1, in which you play Alexia Daval. Was it complicated to embody someone who really existed and to play such a recent news item on screen? How did you prepare for this role?
I think it’s very important that television take an interest in subjects like this and make TV movies out of them. Many news items have been transposed to the screen lately, there is a horrible feminicide. After that opens the debate, often these telefilms are followed by televised debates which open the discussion and awaken consciences. I find that television has a responsibility and that it is necessary to offer such television films.
Of course, it’s a true story, Alexia Daval really existed, but I researched a lot to prepare for the shoot. It’s always all the stronger, all the more intense when it’s a true story. It’s very strong and very delicate, that’s for sure.
And, on a lighter note, you find Liam Baty, alias Rémy in Tomorrow belongs to us, who embodies Jonathan Daval and with whom you have almost never shared scenes in DNA, right?
Exactly, we had barely met during small scenes on Tomorrow belongs to us, so this is the first time that we were really shooting together, we were delighted.
The teaser for L’amour (almost) parfait, which continues this Wednesday January 26 at 9:10 p.m. on France 2: