![]() It’s a lot to handle, but I love it, feeling like I can be a mother and a director if I want to. So I’m directing, in a costume, my actress, with my baby on my lap. Especially because I’m also a mother and most of the time I have my babies on set. They’re sweet enough and soft enough and smart enough, all my actresses, to just accept that, because it’s maybe also weird for them. “I love directing my actors while I’m acting in it, because it’s just the best access to intimacy. ![]() “I’m never really happy about doing it, and then I’m super happy at the end,” Laurent said. Laurent admits that casting herself is rarely something she’s excited about in the moment, but the results are always fruitful. It was a small miracle to make that movie happen at that moment.” We really felt like we survived through something. Finding an actress, finding people, everything was a mess, really. making everything easier, because everything was so uncertain at that moment. “Especially for this one, because we had to set up the movie in the middle of the second wave, and I had to make sure everybody would be safe, and the safer way to do it was to put myself as one of the leads. It’s never coming from me,” Laurent said of her casting. Thank Laurent’s producers for cooking up another way to shrink the cast down: by tapping Laurent to play a role in the film, the first time she’s directed herself since her debut feature, 2011’s “The Adopted.” “It’s just in the hospital, and we made that hospital ourselves and everybody was coming from that small town. “We were testing twice a week and it was one location,” she said. Production was set in Rochefort, located in western France, and most of the action was shot at the Marine Hospital, which is now a museum. There, she meets a cadre of other outcasts, along with a sympathetic nurse (Laurent) who starts to believe that Eugenie’s visions and voices are not the product of mental illness. She had already signed on to write and direct “The Mad Women’s Ball” in January 2020, but without “The Nightingale” blockading her calendar and with France emerging from its second lockdown at the end of November, she jumped at the chance to make the film sooner, rather than later.īased on Victoria Mas’ bestselling novel of the same name, the 19th-century-set film follows the aristocratic Eugenie (Lou de Laâge, who previously starred in Laurent’s critically acclaimed “Breathe”), who is packed off to a Paris asylum after she reveals to her family that she hears ghostly voices. With her schedule suddenly open, Laurent decided to do what felt natural: direct another film. I was ready to shoot, and then we couldn’t. I was super happy about making that movie and to make everything work. ![]() “It’s extremely frustrating, as you can imagine, for me to just survive through everything. ![]() “I’m pretty sure when you agree on everything in prep, then you’re pretty free on set, and then they just let you be who you are because you spent so many hours to just make sure everybody is okay with your ideas,” Laurent said. She liked the experience, and the demands of studio filmmaking actually seemed to appeal to her organized nature. The prep process was a major change for Laurent, who was used to taking something of a run-and-gun approach to her previous films - “When you’re a director in France, there is no difference, prep or shooting is kind of the same,” she said with a laugh - and only adds to her enthusiasm to get back into the studio saddle. How are we going to make it possible?’ With the studio, it’s another level of how you’re going to hit all those boxes and how you’re going to make everything work, how you’re going to save your point of view and how you’re going to make something popular, and how you’re going to respect a historical movie, but also make it more Hollywood.” I’m obsessed with, ‘Okay, this is impossible. “I don’t know if it’s weird, but I hate to do that in real life. While Laurent’s studio debut has been, at best, simply delayed until next year, Laurent has already learned a lot from the experience. “I just realized that I love my job as a director, because I love finding solutions to problems,” she said. Sundance 2023 Movie Deals So Far: NEXT Sci-Fi 'Divinity' with Stephen Dorff Lands Worldwide Deal The Best TV Crime Shows of the 21st Century, Ranked His Role as an Extra on 'The Warriors' Got Robert Townsend Thinking Like a Director When Hong Chau Wanted to Take a Break from Acting, Darren Aronofsky Had Other Plans After production was shut down, Sony pushed the film’s release date to December 21, 2022, but it has yet to resume production. The film, originally set for release in December 2021, was already in pre-production and just five days out from its production start date when the pandemic hit in March of last year. “It’s very complicated for me to talk about, because we haven’t found any solutions right now,” Laurent said during a recent interview with IndieWire.
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