Welcome to Mouthe, a village in Doubs renowned for being the coldest in France, where a famous crime writer sets out to solve a series of murders. The signed series Gérald Hustache-Mathieu (Poupoupidou2011), broadcast on Arte from this Thursday, features a wacky duo composed of a whimsical writer, David Rousseau (Jean-Paul Rouve), and a somewhat lost gendarme, adjutant Louveteau (Guillaume Gouix).
On the program of Polar Park, a crazy investigation, strange monks, puzzles and an elixir that makes you smarter. For the occasion, Jean-Paul Rouve looks back on his character and his return to Mouthe.
What made you come back to Mouthe, as your character says at the start of the first episode?
You have to ask Gerald [Hustache-Mathieu] ! At first I think he didn’t want to shoot there. He wanted a little mountain so he went to look a little higher. He called me, he was scouting and he said to me: “I always come back to Mouthe”. He wanted to return to the region, it touched him, he wanted that. So, we left for three months in Mouthe.
What does it feel like to step back into David Rousseau’s shoes?
It’s very easy, already because with Gérald we haven’t let go since then. We remained friends, we called each other regularly to talk about our projects. And then this character, I feel like I know him, so it’s very fun. When it’s a character that you’ve already played and that you like, it’s already easier. And then they are the same codes, our relationship is the same, all of this is very pleasant to find.
Your character is once again lacking inspiration and we have the impression that he is a better detective than a writer. How do you view this?
Between Poupoupidou and the series is like two parallel worlds. It’s not a sequel. Besides, [Gérald Hustache-Mathieu] plays on the names of the characters. There we find this successful writer, who is not a loser, he is recognized even in the street. We see that he has been on TV, he is invited to schools to talk with children… He has written a lot of detective novels, he has an active side like Simenon. And there, he is lacking inspiration. He goes for a personal story but as with any writer, whatever his life, he always has in mind: “Hey, could this be useful for my job? » Obviously, as there is an investigation, he wonders if there is anything. And then all these writers, like James Ellroy, are very specific on cop stories. They are good investigators because they have imagination and reasoning a bit like cops.
Beyond the detective story, is “Polar Park” ultimately a metaphor for creation?
Completely. That’s Gerald! And that’s what interests me. I can like a series where I’m told a detective story, where at the end the bad guy is arrested. It can be great but I tell myself that it’s better when there’s something extra. When you see Seven [de David Fincher], it tells other things. Gérald’s strength is that the thread of the detective intrigue is held, it’s interesting and we want to know who it is. You have to be careful with the balance, because you can become detached and no longer have any interest in the plot. And if we lose it, it’s over. You have to keep both and he is strong enough for that. We found this balance in Poupoupidou.
The scene where you play puppets with a little girl is particularly touching. The little girl is extremely fair, how did you work?
With two cameras: one on the little one all the time and the other on me. We go to improv, we talk. During the take, Gérald suggests saying something or offers to show me a drawing. And we turn, we turn… We try to steal things a little from him so that it’s as fair as possible. Because if she just learns her line and says it, usually it’s wrong. We even changed things. At the beginning the dolls represented something else and the little one didn’t understand, she didn’t have the reference. You have to adapt to the child.
In one of the settings we see the portrait of Marilyn Monroe by Andy Warhol. Is this a nod to the film?
Yes ! Poupoupidou was about Marilyn Monroe. And I have the room with number 5, like Chanel No. 5. Gérald puts references all the time in his films and the series. And I can even tell you, without spoiling, that there are clues right from the credits. Everything is referenced, nothing is left to chance. You look at a painting, a setting… It’s never gratuitous or aesthetic, it’s always useful for the series.
Even the first shot is reminiscent of “Twin Peaks” with your arrival…
Exactly. For the investigation, to understand, if we know all the clues we can know the murderer before anyone else. But you have to understand them!
What does it change to interpret a character for a series, is there a difference with a film?
It’s the same. You shoot a film in eight weeks and then in three months. You have more stage but there is no difference for acting work.
And the filming conditions, the cold and the snow?
We had already done it so we knew what world we were going into. We had a few complicated nights where it was really cold. Once, while filming in a car, we had a snowstorm. It was a bit annoying but it was okay.
Do we work faster when we have the same team?
Of course. It’s the same person on the sound, the same cameraman, the same cinematographer… We had the impression of having stopped yesterday so we found the automatisms. And Gérald hasn’t changed, he takes his team on board in the same way. We shoot in roughly the same place, we have the same references… The first assistant is also the one in my films, it’s a bit family-oriented.
Would you be ready for a sequel?
From the Serie ? Of course ! With Gérald there is a quality of writing. The day he sends me another series or season, I know it will be good. And I love this guy, he amuses me so much!