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Emily in Paris is heavily marketed to women. For GQ, how would you sell it to other men?
Well, it’s as close as it gets to Fast and Furious. I think the same way I fell in love with Sex and the City, there’s always something to learn in that kind of show. Watching a show like this helps you understand one side of what’s in women’s heads. One tiny side, because there’s a lot going on, and we couldn’t start to understand with our prehistoric brain what’s going on into a woman’s brain.
When I watched Sex in the City, there’s a lot of things I didn’t know. And it’s part of why I loved it. As you grow up in a patriarchal society with toxic masculinity, nobody tells you what women think and what they feel and what is right or wrong sexually or in a relationship. And to see it in a show that is so honest and unapologetic is a good teacher. So to begin to understand women, maybe we need to enjoy what they entertain themselves with.
You made your big US movie debut this summer across from Julia Roberts and George Clooney. What are your memories working with them?
It was the most amazing experience of my life. I couldn’t believe I got that gig. Every day I would wake up completely with an out of body experience. And I think I still haven’t realized that it happened. Whenever I see Julia or George’s name popping on my phone, I have to show my phone to a friend and be like, “Look who’s texting me.”
And you also starred alongside another icon, Isabelle Huppert, in Mrs. Harris.
It was very humbling just to be in the presence of Lesley Manville, who is an absolute powerhouse and such a loyal, true friend. And Isabelle as well. I was raised by a strong feminist figure. To be in the presence of such strong women for three months in quarantine in Budapest, … you just want to shut up and listen and observe and contemplate.
You know what I learned mostly from George, Julia, Lesley, Isabelle, and Jason Isaacs? The greatest actors are also the nicest ones. The ones that are connected to reality and consideration and love and empathy. It gives you fuel for the rest of your career, to learn that you can actually succeed in this industry that can be toxic sometimes.
You’re on a roll with romantic comedies right now. Are there any fundamental differences between a French romantic comedy and an American one?
Well, I haven’t done a French romantic comedy. But comedy in English is more comfortable because the language, the physicality, everything is expanded. Everything is bigger. And so you can really play with your body, you can really play with your tone of voice. In French, everything is leveled down. I grew up with [English-language romantic comedies] and that’s all I watched. It’s 500 Days of Summer and Notting Hill, Love Actually. I feel like it’s part of my DNA.
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Gabriella Paiella
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