While the filming of “Tomorrow belongs to us” is interrupted because of the coronavirus, Juliette Tresanini has agreed to answer our questions about her confinement, her projects, and what awaits Sandrine in the rest of the series.
AlloCiné: How are you living this very special period of confinement?
Juliette Tresanini : I had a feeling of uselessness at the start, saying to myself “There are people who are on the front line, who care, who feed the population. These people who are a bit our new heroes. And me in all this ? What do I do ?”. So the first week was a bit complicated because I lost my senses. I was always writing my projects, on which I had wanted to work for a long time, but suddenly it seemed futile. And in fact when I found a way to help, through my Youtube videos and their monetization, and by donating this Youtube money to Merci caregivers and associations that feed caregivers who are on the front line, I finally felt like I was part of this little chain that helps as much as it can. And then there are obviously my live on Instagram which allow me to keep the morale and the link with my community who sent me messages saying to me “Tomorrow belongs to us stops, it’s super hard, I’m alone, confined to my city. ” And I said to myself that these almost daily live shows, in which I invite comedians from the series, but also other speakers who have written books, have YouTube channels, or are engaged, could at least allow them to smile for an hour, and that’s great.
What feedback did you have on the video Demain, c’is confinement, which you shot with Solène Hébert (Victoire), Marie Catrix (Morgane), and Mayel Elhajaoui (Georges) for the benefit of Thank carers?
We got a lot of feedback. A lot of “thank you” and “it’s too funny”, so it’s bound to be fun. And we got feedback from the authors too, who said “Well, you don’t need us now” (laughs). What was really gratifying is that the people on the team, that is to say the authors, the producers, and the chain, validated the concept. Which in addition was for the benefit of an association so it was even better. But they really liked the approach, which is not obvious. Because I write the text on my side and then I send it to the three other actors. And since we can’t really do repetitions, everyone can take the text a bit as they see fit. Suddenly the editor catches up afterwards, or not, and it is this chaos linked to this confinement to the four corners of France which also makes all the charm of these videos. And it’s always with a view to keeping the link between the fans and us. And to keep morale high, because the artists understood that they had this role to play during the confinement.
At the start, it was an idea of Solène Hébert, right?
No, actually I had the idea of shooting a scene with a girlfriend, when we were both confined to two different places, and it was Solène who told me “Why we would not bring it into the universe of Tomorrow belongs to us? “. She really wanted to play in it and very quickly we thought that since we are both very identified Tomorrow belongs to us, people were going to say that we were playing Sandrine and Victoire. It was therefore necessary to assume it and go towards that. I called Solène, Marie, and Mayel who immediately agreed to play the game and I said to them, “Tomorrow morning I’m going to give you something”. And at 10am the next day they had the text. But what took a long time was when they wanted to send me their videos because they were confined to the pampas, in the countryside, and the files had a little trouble getting through. But episode 2 was released on April 17. And the idea is to make a triptych. We have three episodes in the box and we hope to release episode 3 in a few days.
It’s been three years since you filmed in Tomorrow belongs to us. What has the series changed for you?
I’ve already moved to Sète, so it’s not bad (laughs). Then, inevitably, a series like Tomorrow belongs to us changes a lot of things in terms of notoriety. I was mostly known by young people before, from 15 to 25 years old, thanks to Youtube, so I was basically “half-known”. And now there are moms following me. Besides, at the beginning of the series I received messages like “Ah but my mother adores you!” or “I came across my mother’s show” (laughs). It was funny to see that the audiences were different within the same family. But we laughed at the beginning with Ingrid Chauvin, when the series was not yet broadcast, because the people who asked me for autographs were generally very young and did not see who she was. And conversely its audience did not know me at all because the first episodes had not yet passed on TF1. But today I have the impression that it comes together a little, there is less distinction between my YouTube audience and that of the series.
What is the plot you’ve preferred to shoot since the start of the series?
It is necessarily “The secret of Lazzari”. It revolved around my character, his past. And then there was the meeting with Bernard Ménez and Véronique Jannot. We shot almost nine sequences a day for two months and I gave everything. It was a great gift to carry this intrigue. We knew it was up to us, we knew TF1 trusted us. Because suddenly there was a summer plot that was not on the Delcourt and we had to maintain the audiences, while we were not the main characters at the start with Solène. So there was everything to prove for us. So that they would also trust us again later, perhaps for a future bonus. So we put pressure on ourselves to be at the level and we had great feedback, from the public but also from the channel which was very happy with this intrigue. And it was not easy because there was this challenge of going from sisters to mother-daughter for our characters, knowing that in life Solène and I were friends and that we were 8-9 years apart. It had to be credible. And in the end I am very happy with the result.
And the craziest plot of these first three seasons of Tomorrow belongs to us?
Always “The secret of Lazzari”, but I’m biased because it is the one I experienced in my guts. But there is another one that I really liked: the bus accident. I found it to be a very well filmed, super strong arch. We had difficult night scenes. We were harnessed upside down with Ingrid in an overturned bus. I haven’t shot many action scenes in my life, I mostly did comedy, and there suddenly it made me happy to put myself in a little bit of danger.
And I find that TF1 and the authors take risks with these catastrophic intrigues. They go for it, they don’t look for simplicity. We always question ourselves, we try to always offer new things to the public. Of course there are intrigues that fans prefer over others, but there is still quality in all of them. And strong subjects that are raised, beyond these catastrophic intrigues. I think of the harassment of Jessica in high school two years ago, it was super strong and well written. I really like the intrigue in high school in general and I hope that the authors will want to talk about school harassment in the future, or about ecology in the high school. Because I find that the school is a very beautiful setting to evoke the subjects of society. It is through young people that the most interesting things happen, they have a real ecological conscience, feminist too. And ecology is a more important theme than ever, so we have to talk about it after confinement.
Among all the actors in the series, is there one that you would like to see come back?
I have a very strong bond with Véronique Jannot, obviously, who is my fiction mom. I would love for her to come back more often, but I don’t know what’s planned for her. I love our duo. And I love her so much in life that I loved to hate her on screen. So I hope we will see her again soon.
Do you think that a return of Lucas, the eldest son of Sandrine and Laurence, is possible?
I would love. Maybe a small appearance, but not continuously, no, I don’t think so.
Was it Lucas’ interpreter Valentin du Peuty’s wish to leave the series?
Yes, he had other plans. Like almost all the young people in the series, who at one point leave to finish their studies or to shoot other projects. They are on the move and at twenty you do not see life in the same way. Two years spent on the same series seems to them to be a long time already, because they did this job to live full of different adventures. While we have all done a lot before. I did six years of theater, I launched my Youtube channel, so after a while we say rather “Ah, it’s good to ask yourself”. In a series that we like, which offers a varied score because we never play the same thing, which turns in one and the same place. I think it’s a question of age. And maybe they’ll all come back someday. But I find it rather healthy that they want to go elsewhere to gain experience.
Can you tease what awaits Sandrine in the episodes already shot but not yet broadcast? Morgana is going to be affected by the next Amanda intrigue and the rape of which she was the victim, right?
Yes exactly. The next arch revolves around the character of Amanda (Marion Christmann) but it will not only involve her. Sandrine will also be indirectly involved in this intrigue because what will happen will not only affect Amanda. I think that this is a very beautiful, very necessary subject, around violence against women, which has been very well treated. I stay deliberately wide so as not to spoiler but it is really a necessary intrigue. A little dark, that’s for sure. After confinement, we’re not really going to come back with comedy. But the only thing I can say is that I had a fairly important role to play in this beautiful plot.
Do you have any indications on the resumption of filming, now that the date of May 11 has been set by the government for the start of deconfinement?
I will be very honest: none. For the moment as long as we don’t know how the deconfinement will happen, whether it will be by region or not, we cannot count on a recovery date. The actors all living in the four corners of France, the trains have to run, we have to be able to move around, and the fairly large groupings have to be accepted, because there are many of us on a shoot like that of Tomorrow belongs to us. And we are forced to have interactions between actors and to speak to each other at a distance of less than a meter, otherwise we do not fit into the frame (laughs).
I think that production does not know the real date at the moment and they cannot restart the machine and start preparing for the recovery. And if we take this into account – the preparation of the shooting by the technical teams and the directors, the sending of the schedules to the actors – it seems impossible to me that the recovery is done in mid-May for us the actors. But this is my vision, again. The production has not told us anything about it yet. For the moment no one knows more. But we still hope that the resumption of filming will be before the summer. Because we are starting to go around in circles, because we miss it, and because economically it’s good for everyone that business gets back up as quickly as possible. But the most important is health and I know that production will be very careful not to start filming too soon if there is the slightest risk.
Do you already have post-containment projects you can talk about? Filming? Or are you going to be 100% focused on Tomorrow belongs to us?
I had two shootings to come for which I had been cast just before confinement. A unitary for TF1, which should turn in August. And since it’s the same channel as Tomorrow belongs to us, it shouldn’t be too complicated in terms of schedules so that I can do this shooting in parallel. And then I also participate in the telefilm Lucas disappeared, with Laëtitia Milot and Assaad Bouab, for M6. The chain told me that the shooting was maintained and that normally it would resume in July if all goes well. So I will have these two shoots to group with Tomorrow belongs to us but I will obviously make myself available all summer for Tomorrow belongs to us. Because I think we will have to do everything we can to catch up. They will really need us and we all really want to work. And working in Sète in the summer, it gets worse anyway!
And then in parallel with these TV shoots I am writing a lot at the moment because I plan to shoot new short films, which will no longer be “home made”. I write about the passage of time, about forgetting, about the injunctions given to women. I have a sketch called “Chez le gynéco” which denounces obstetric violence a little. I have lots of sketches and short films being written. Sometimes it’s funny, sometimes a lot less. I like to vary people. And I hope to have help from the CNC, so that it helps me finance my channel so that I can pay my technical teams. The struggle of Youtube is to succeed in having a little money to do correct things.
Finally, are there any films or series that you particularly like that you would recommend to Internet users for this period of confinement?
To preach a little for my parish there is “Martin sex basse” which I invite you to discover on my Youtube channel, with free access. A series of which I am very proud. Otherwise I really liked the series L’Effondrement, by the collective Les Parasites, which is available on their Youtube channel [et qui a été diffusée sur Canal+, ndlr]. If there is an interesting channel to watch at the moment, this is it.
In terms of movies, I’m doing all the hits of the 90s right now to make my son discover Back to the Future or Un Jour sans fin. And it must also be said that Un jour sans fin takes on its full meaning at the moment (laughs). Really, when I saw him again, I said to myself “Wow, it’s so us!”. And that means that if you follow the film you have to improve, become a better person, and there you can get out of confinement (laughs). And in series I am very, very fan of Friends! But I also try to get into other series. I’m a fan of This is Us, I had How I Met Your Mother phases, Desperate Housewives phases. In fact all that is American comedies I like very much. I loved Girls too. And in France I really like Ten percent, I think it’s super successful. I also really liked Brief, in which I had the chance to play. And right now I’m redoing the Cesar films because I completely missed out. So I saw Portrait of the girl on fire who is masterful. It is a beauty and a stunning female-gauze. I did not understand why the film did not have the price of the Best realization. I really liked La Belle Epoque, not on everything, but on a lot of points. Alice and the mayor too. I found Anaïs Demoustier incredible. Les Miserables, awesome, I loved it. So here I am catching up a little all that I missed in 2019 because I had only gone to see Parasite at the cinema with Clément Rémiens elsewhere.
Interviewed on April 16, 2020 by phone.
The second episode of “Tomorrow is confinement”, shot to support the association Thank you caregivers: