“We all need therapy”, considers Frédéric Pierrot

Back on the couch.

After having made a hit on Arte in season 1,

, the adaptation of the Israeli format by Hagai Levi by Olivier Nakache and Éric Toledano, returns for new screenings this Thursday on Arte.tv.

In this season 2, which takes place at the end of the first confinement, Philippe Dayan, still played by Frédéric Pierrot, receives new patients: Inès (Eye Haïdara), a solitary lawyer, Robin (Aliocha Delmotte), an overweight teenager victim of school bullying, Lydia (Suzanne Lindon), a student and Alain (Jacques Weber), a business manager caught in a media turmoil.

The psychoanalyst navigates in the blur vis-à-vis his analytical practice, undermined by a trial and goes to consult a new controller, Claire (Charlotte Gainsbourg).

Analysis of new challenges with Frédéric Pierrot.

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Has the success of season 1 of "In Therapy" created a special closeness with the spectators?

It's possible, but I was already benefiting a bit from that before doing the series.

People don't necessarily know my name, but expressed a feeling of closeness.

It's very pleasant, it suits me perfectly.

Undoubtedly, the series, because it was very popular, accentuated this.

I am always amazed by the delicacy of people.

It is always benevolent and discreet.

I'm not too broached, I can walk down the street and have the right feeling of solitude to suit.

Have you watched “BeTipul” or other adaptations?

A few years before doing the series, by chance, I had come across an episode of

one evening .

I watched one or two episodes of

, because Emmanuel Finkiel, I believe, told me about a particular moment.

At the time of season 1, you mentioned the impossibility of filming the analytical work.

Many viewers say they felt like they were reliving their analysis…

So much the better !

Same for me.

revisits universal themes in a sufficiently long time and at a particular frequency.

Some watch television every week, the most eager immerse themselves in it for forty-eight hours.

Indeed, there is a strange sensation of the passage of time.

An analysis can be long, sometimes over several years.

We manage to achieve at times the effects of truth.

All of a sudden, we realize that what has just been said has a particular importance.

And we let that time exist.

I understand that it can work, but we also suspect that it is not in seven sessions that things are done.

This can give this impression, obviously false.

Speaking of time, season 2 starts after a five-year ellipsis, how did you approach this new Philippe Dayan?

There was a year between the two seasons.

In five years, nothing can happen or a lot can happen.

Dayan moved away, he separated from his wife, etc.

One thing that does not change however: he continues to do the same job in an amendable or criticizable way.

I didn't ask myself a lot of questions apart from proposing a slightly different physical appearance, less clean-shaven, with slightly longer hair.

There is no need for so much more.

And, in a delicate and discreet way, at the beginning and at the end of the sessions, we have a little more indications than in season 1 on what could possibly torment him.

This post-containment season seems paradoxically a little less in a vacuum than the previous one...

He moved into a house with a garden.

The theme of the trial necessarily takes him outside, since he goes to court.

In the first episode, he meets his lawyers.

There is also his reunion at his controller with this old childhood friend.

We have the impression that, indeed, there is a little more outside.

Jacques Weber, who plays one of Dayan's new patients, said: "you have to go through the heart of yourself when you shoot this series", do you share his feelings?

Of course, the same way.

Just as a shrink at work constantly revisits his own themes.

What happens to his patients inevitably sends him back to things he has known or gone through.

The process and the fact of shooting quickly in two weeks is very intense.

It means letting go, dropping the masks and finding yourself a little naked.

It's no longer the actor, but the person I am at work, in this proposal for an exchange on a text not directly from my own experience, but which has to do from near or far.

That's what works so well with spectators too, it has to do, directly or indirectly, with things we know.

And we don't evacuate the subjects too much, we dig deep, so we do the work that we try to do in analytical or psychotherapeutic work,

“In Therapy” also offers a rare space for speech in our modern society…

Eric [Toledano] used the word “cacophony”.

It's weird, but I kind of live like a monk.

I no longer listen to TV, I no longer read the newspapers or very little.

I do the minimum because I have this impression of noise, of empty words, a little meaningless.

It's quite scary.

You have to try to refocus.

The series breaks up this cacophony in a way that one might find austere, but I've always found it all quite joyful.

I'm glad to hear that this has prompted people to consult.

It's amazing because I think we all need it.

How do you see the relationship between Dayan and his new controller?

At first, he goes to see her for the wrong reason.

He's not fooled by that.

The possibility of a dialogue is beginning to happen, little by little, as equals.

In season 1, it started with a fairly strong conflict with Esther, played by Carole Bouquet.

Basically, what is interesting in this season 2 is that there is no conflict from the outset.

He arrives with a hint of curiosity because Claire has had great editorial success.

Little by little, there is a real listening, as Emmanuel Finkiel said very well, something circulates between the two very naturally.

There are obvious resonances between them like two musicians trying to vibrate together.

How was the collaboration with Arnaud Desplechin, Emmanuel Bercot, Agnès Jaoui and Emmanuel Finkiel, the new directors of the series alongside Eric Toledano and Olivier Nakache?

They all said, a priori: “We have nothing to teach you, you did season one, it is rather you who must explain to us, each with very delicate formulas.

Arnaud [Desplechin], will send delicious emails saying: “I have everything to learn from you for this series, and so on”.

It's not the look they have on me that counts, but on the work in the analytical firm, the partners and the constraints of this project.

How at the same time we escape it, we renew it and we remain within this framework.

It's a hell of a jugglery.

I'm one of the balls they juggle.

Arnaud cut out the work a lot.

At times, I couldn't necessarily get the full dimension of the duration of the session, but he was very considerate of Susanne [Lindon] and me to explain to us what he was up to. currently doing,

and finally, we found ourselves there.

I asked Emmanuelle [Bercot] to do long takes of twenty minutes to rediscover this feeling of the duration of the session, which made Jacques [Weber] say, at a certain moment: "I had the impression to really be a session.

[Agnès Jaoui] had a physical attitude on the set, very different from the others.

Agnès, after a while, would step offscreen, of course, but practically cross-legged on the carpet in front of Eye [Haïdara] to support her, not all the time, but often.

Eric [Toledano] and Olivier [Nakache] had experience from the first season.

They were close to [Aliocha] Delmotte.

Honestly, they kinda leave me alone.

When it spills on me, they have 23 variations to offer that are generally interesting and enjoyable to do, me,

I just don't want to get in the way of what they're trying to do.

Basically, it's quite simple, like for a therapy, you just have to be there on time!

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Why does the “In Therapy” series touch us so deeply?

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