On the occasion of the launch this evening on M6 of “Save Lisa”, meeting with Caroline Anglade, the star of the series, which evokes for us this panting drama on the mistreatment, its complex character, and its collaboration with the other actresses.
Already available for several months on the Salto platform, the mini-series Sauver Lisa, directed by Yann Samuell (Children’s Games, Grand Hotel) begins this evening on M6 with the broadcast of the first two episodes, which immerse us in the daily life of Rose Keller, a teacher who will risk everything to save one of her students, a victim of mistreatment at home. Even if it means breaking the law and embarking on a run that will change his life forever.
A breathtaking drama worn by Caroline Anglade, seen in particular in Lebowitz against Lebowitz and Divorce Club, which is excellent in the role of Rose, and which, on the occasion of the launch of Save Lisa, told us about this complex character, the strong themes of the story, and of the work with the director and the other actors of the series, including the revelation Capucine Sainson-Fabresse.
DashFUN: Saving Lisa marks your return to television, in a leading role, three years after Lebowitz vs. Lebowitz. What made it the right project?
Caroline Anglade : The scenario, above all. I was immediately caught by this story, by the way in which the authors seized on the subject of mastery, and by the strength of Ross Keller’s role. I liked his tenacity, his desire to risk everything, and his madness, somewhere too. Because the act she’s committing, “kidnapping” Lisa, is unreasonable. But she knows that if she does not act, the little one risks dying.
And then, as soon as I read the script, I let myself embark on Rose’s personal story, which we discover as the episodes go by. At first, it is all very mysterious. It is very mysterious this woman. One wonders what makes her act like this. It’s super addicting. And the more I read, the more I became aware of other female roles, very strong, very powerful. And it has become obvious. I had to sign direct, I wanted to play Rose Keller.
Series that offer roles of women as beautiful, or at least that offer as many, ultimately remain quite rare in France, unlike the United States, where we can cite examples such as Desperate Housewives or Big Little Lies …
It’s true. There are few series in France with female characters so strong and so present. There are obviously plenty of male characters in Saving Lisa, but it’s the women who get the point. It changes, it’s nice. Each character is important.
And then, what’s great about the Saving Lisa script is the connection to motherhood. Because they are women, girls, sisters. But the series also talks about the different relationship we can have with motherhood. There is the mother who adopts, the one who will abandon her child, the one who mistreats her child, the one who does not want it in relation to her story and who ends up forging a bond with this little girl.
That’s the message of the series: that you can not bear a child and still be a mother, in every sense of the word.
Have you seen the Japanese series Mother, of which Saving Lisa is an adaptation?
No, because I knew it was going to be treated very differently. So, I didn’t feel the urge to see her because I knew it wasn’t going to have much to do with what we were going to say in the end. It’s not the opposite, since it’s the same story, but it’s not the same culture. It is not at all the same way of treating subjects.
Was working with director Yann Samuell a motivation for you? Were you familiar with his work?
I had never met Yann before Saving Lisa, but I obviously knew his film Children’s Games, which is a bit of a cult film for me. And I said to myself that if he had made this film, it was because it was necessarily exceptional (laughs). And he is! He is someone very close to his actors, who trusts and is very respectful of the work of actors. It’s the actors above all else. He protects them, he frames them. And so, frankly, it was very nice to work with him.
Does it feel that he comes at the base of the cinema, even if for some time he started to make more for television?
Where it shows is that he really takes the time for the game. He will take the time to do his scene, no matter what. If there are to be ten takes, there will be ten takes. And yet it’s TV, you have to enter the timing every day ….