“As an actor, you have your loneliness and your desire. If you sit on it, it’s over ”

Playing wrong is not for everyone. In A triumph by Emmanuel Courcol, in theaters on 1er September, Sofian Khammes, who plays there a cabotinous and duplicitous convict who emancipates himself in theater lessons, had to face this challenge. “My character had to be first false, next to his text, then become true, so that we can feel his evolution. And playing wrong, in fact, is really difficult. “ A time ; hesitation. He inquires: “Doesn’t it sound like a crevard actor who tells herself to say that?” “

“Even more than the cinema, I saw the theater as the place of the free reinvention of the world, I fantasized about Richard III, and I was pushed into an idiotic determinism. “

Tell it to herself, Khammes, high speed flow and warm courtesy, would not like. Moreover, he does not boast of being one of the best distributed young actors of the moment, of the excellent and bloodthirsty The Cloud, from Just Philippot, released in June, where he played a winemaker in love with a breeder of grasshoppers, to the next productions of Laurent Cantet, Yohan Manca, Olivier Babinet, Cédric Jimenez…

“It’s true that things are going well together”, he euphemizes over coffee and barley syrup. Neither boastful nor self-deprecating: he is one of those hard-working actors who, having multiplied the courses (Jean Périmony, Higher School of Dramatic Art then National Higher Conservatory), experienced failure and often ended up cursed second in the castings, know their value. .

Between McDo and Conservatory

Absent father, cleaning mother, son childhood and adolescence in Marseille, in the district of Endoume, “Only rebeu in the middle of the Whites”, leave him torn between the cult of the American New Wave (Scorsese, Coppola, Brian de Palma) and “A social blockage, this shame of the culture that I felt in college where everything that was too cerebral or cultural was considered suspect”.

Thus, the day he surprises a boy from his neighborhood on his way to a theater class, he starts by winnowing him, making fun of it. Then, vaguely sensing that this is where it is necessary to go, he who secretly fantasizes about the performances of a Marlon Brando or a River Phoenix, he follows him running with great strides. First improv sessions, exercises, ball throws. Musset. Root. ” The slap. Playing was good for me. “

Leaving a university of philosophy started in Aix-en-Provence, Khammes “goes up” to Paris “With twenty bullets in the pocket”, sleeping in a studio full of DVDs, serving at McDonald’s or in a brewery alongside the schools he runs, competitions he passes. In 2012, on leaving the Conservatory where he prides himself on Hugo and Shakespeare, he receives his first theatrical proposals. “Only stereotypical supporting roles of Arabs: violent types, dealers… Even more than the cinema, I saw the theater as the place of the free reinvention of the world, I fantasized about Richard III, and I was pushed into an idiotic determinism. I refused and went back to work in the brewery fourteen hours a day. “

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