In “Murders on the Frioul Islands”, this Saturday March 12 on France 3, Francis Huster and Jeremy Banster camp a duo of father-son cops in conflict. At the Monte Carlo Festival 2021, they confided in the editorial staff of Télé Star on this “Murders to” not like the others.
“Murders at” returns to the Marseille coast! This Saturday March 12 at 9:10 p.m., France 3 is broadcasting Murders on the Frioul Islandsa new detective television film by Sylvie Ayme (Waves of Remembrance, Cassandra), to whom we already owe the number Murders in Toulouse. headlining, Francis Huster and Jeremy Banster slip into the skin of a cold father and son, which a murder that occurred during a performance of the Count of Monte Cristo brings together. One thing leading to another, the investigation will lead them in the footsteps of their own past, revealing a heavy family secret along the way…
Télé Star: When you discovered the script for this new “Meurtres à”, what attracted you to the project?
jeremy banster : It was a great pleasure to discover this scenario, to see this duo of father-son cops, these values that touch us, these flaws of men to defend. All in Marseille with a female director…
Sylvie Ayme: What attracted me the most was the father-son duo. It’s nice to work on family relationships without being in the right mood. We felt that there was a real tension between the father and the son and I really wanted to make a film of men.
Francis Huster : Reading the script, I felt like I was immediately in a Hitchcock movie: Death on the heels. When Cary Grant shot Death on the heels, he didn’t understand the script, he didn’t know what he was shooting at all, and throughout the filming, he listened to Alfred Hitchcock from A to Z without knowing what he was doing. That’s what I felt. When I read the script, I thought “It’s very complicated.”
Then I thought to myself “If it’s shot like all the ‘Murders at’, it’s not worth doing”. If it was to have an image of Marseilles that we had seen 50 times, with cops as we see them in real life, a little badly dressed, in blue jeans, It’s not worth it. And then I was told that it was a woman who was going to direct, that it was Jeremy Banster who would be the son, and I was like “we have to go for it“.
Your characters, Pierre and Victor, have very complex and conflicting relationships. How did this dynamic develop between you?
J.B. : On the set, we trusted each other. We left each other alone, like two animals wandering around and marking their territory. We had two different scores to play so we each let each other work in our own way, always with a little regard for the other, a little smile in the eye and positive support, all the time. Of course, between takes, there was a lot of humor, a lot of laughter, but during the work, we were really in tune, we trusted each other and we let them struggle in character. Even if we were playing the same situation, everyone had their character dilemma and that was very interesting. Everyone understood it for each other.
HER : They both trusted me a lot. We had worked a lot beforehand so they already knew me, and when we started filming, things went very well straight away. They trusted me completely and when I went to see them for game directions, they wanted me to tell them what I was seeing. I did it happily.
F H : I thought a lot. I said to myself that I should play my character as if I hated Jeremy Banster. When I talk to him, I hate him, but when I don’t talk to him, I love him. Jeremy did the opposite. When he talks to me, he loves me, and when he doesn’t talk, he hates me.
How did you prepare to step into the shoes of these two very complex characters?
F H : The costumes helped us a lot. When you watch this film, it’s impressive. On one side, there is a rigid man, all in black, as if he was going to a big party at Dior, and next, there is a guy with his glasses, in “I am the most beautiful, I am the strongest“.
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