Un Si Grand Soleil: upon discovering Manu’s betrayal, “Virgil is going to take a hell of a blow …

Currently at the heart of a plot mixing Virgil with a love triangle between Manu (Moïse Santamaria) and Eve (Emma Colberti), the actor discusses with us the evolution of his character and the daily life on the set of the series.

How do you see your character since your arrival in Un Si Grand Soleil?

Fred Bianconi: From the start, I was quite spoiled on this project, with permanent twists, very strong things to play, everything that happened with the death of her daughter Léa (Marthe Fieschi), the mourning

Everything there was to play during that time was really amazing and arguably one of the strongest things I have had to do. The character of Virgil is really interesting, with this kind of double play making him oscillate between a nice boy and a bit of a thug side.

In the plot currently airing, Virgil finds himself confronted with the feelings he still has for Eve, whom he has grown closer in recent months when she has joined forces with him to renovate the campsite … Was it inevitable that he would fall in love with Eve again after all the hardships he went through?

I think Virgil never really stopped being in love with Eve. He tried to get out of a depressive slump in which he found himself plunged after Lea’s death. The accidental loss of a child is something huge, no one is prepared for it, and Virgil went through different stages of mourning: anger, denial, the desire for revenge, the search for a manager…

And in it all, Eve brought him back to something that was close to her daughter. There was some kind of amalgamation, and Eve was part of the collateral damage during her descent into hell. But deep down, it’s still the beautiful story of his life.

There, it turns out that he is a little better and he finally begins to find a little a little taste for life. Eve bringing him a development perspective with this campsite, it brings him a project that makes him want to live, and he begins to look at her a little differently. The feeling that their complicity is always present begins to give him ideas; he is ready to throw himself into her arms again.

Except that in the meantime, she moved on, in this case someone Virgil knows well, even if he does not yet know who and the public knows it from the start. When he finds out that it is Manu, who is still Virgil’s good mate after everything they’ve been through together, Virgil is going to take a hell of a blow to the head.

After everything Virgil has done for Manu, like helping him hide Elsa (Julie Boulanger), his girlfriend who was wanted by the police before her death, will he blame him?

I don’t know exactly when things will happen in the broadcast, but an external event will fall on both of them, causing Virgil to find out that the man Eve is seeing is actually Manu, he finds himself embroiled in a series of very serious problems.

Therefore, this love betrayal problem will take a bit of a back seat to him. This does not prevent their meetings are tinged with this underlying conflict, and that he will still obviously break something between him, Eve and Manu. But the events that happen are still more important than what remains a “simple” love betrayal compared to the risk of losing your life, for example. (laughs)

In this regard, Emma Colberti told us in an interview that it was in any case unthinkable for her that Virgil and Eve get back together one day, because that would mean reliving Lea’s absence, and the painful memory of the family that ‘he trained before. What do you think ?

I think they’re like cat and dog, and the love they have for each other is pretty deep. So, isn’t everything that happens around them just a decoy? Me, instead of Virgil, I still want to believe in it a little longer. (laughs) This is also what is rich in the series in general and in this one in particular, because the twists are many and varied.

All the more after after three years of existence, jI would almost say to my surprise because I didn’t know when starting this project until when I would keep having fun. As long as you don’t have the feeling of putting your feet in slippers and doing repetitive things, the desire to continue doing this character is still there.

Muriel Combeau, who joined the cast of Un Si Grand Soleil this year, had rightly welcomed the requirement demanded by the filming of the series, saying: “I think you put any actor who only does movies in there, he doesn’t last two days.“You who have shot in big series like Engrenages for several years, and multiplied your experiences in the cinema, what is your point of view on the shooting of a daily newspaper?

It’s pretty incredible, because it’s true that it’s this speed of manufacture and the quality requirement that everyone puts into it, to give a result that spectators can believe in, this immediacy, c t is a real exercise which means that when you shoot scenes, you have to manage to get out of them without having been frustrated at not having done well enough.

But overall, by being all very invested, we get to do a good job. And this requirement in each position, whether it is the directors, the op-managers, the cameramen, the scripts, the electros, the machinos, all these teams that are set up quickly, this energy concentrated on producing the most qualitative result possible in a relatively short time, is collective.

And I have to say that this beat, as crazy as it sounds, I like it! When we find ourselves on another shoot and we do not have between seven and ten sequences to shoot per day, but only four or five, it’s a bit slow, we find it long! (laughs)

When I joined the show at the very beginning, I kept running Gears in parallel, and in comparison I felt like I was on a movie set beat. Even if of course it happened with the director Frédéric Jardin that we also did days that ended at more than ten useful minutes per day, which is huge for a series like Engrenages.

The only difference with Un Si Grand Soleil is that this principle is daily, and that we have four technical teams running at the same time. I’m amazed to see these service sheets coming in every day with over three hundred people working on them, from script to post-production. The Un Si Grand Soleil manufacturing machine, I find it insane: every ten days, ten episodes come out of the oven in this way, without any stoppage throughout the year. It’s still crazy!

We often think, through ignorance, that as an actor on a daily basis you are necessarily entitled to fewer takes when you play, faced with these constraints of rhythm. Is that the case ?

Not quite: there are times when, indeed, scenes will be shot in time-lapse, for the benefit of one that may need more time. QWhen it comes to making a sequence shot, for example, you can do up to fifteen takes to get the correct one. The shooting days are not longer, however, they are denser.

It’s a kind of priority management, between scenes that can be more anecdotal and others that will need a greater emotional or dramatic density, and on which we will not hesitate to spend more time.

Finally, what are your other projects outside the series? We saw you in the casting of the police series Sophie Cross in November on France 2.

I’m about to do our last performance of the show The Darons at the Café de la Gare, and the tour should continue in 2022. It’s a story of friends that has lasted for almost thirty years, it is a fairly strong friendly and artistic experience.

Otherwise, I’m currently shooting in Un Si Grand Soleil, I started a new ark since the start of the school year which is underway and which integrates the character of Virgil into new horizons, which will take me almost until March.

And on the other hand, I’m developing a serial project for platforms that follows a short film that I co-wrote and co-directed with Maurice Hermet, The line, which won the Grand Prix for short films at the Cognac Polar Festival. We are looking for development, and the first meetings we have are very encouraging.

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