Un Si Grand Soleil: “Camille Goes to Korea” Reveals Moïse Santamaria – Teller Report

While currently investigating drug dealers in “Un Si Grand Soleil”, Manu will soon see his life turned upside down by his daughter’s departure. Moïse Santamaria, his interpreter, confides in his character and what awaits him in the series.

AlloCiné: For some time in Un Si Grand Soleil, Manu has been in a relationship with Eve (Emma Colberti), the former great love of Virgil (Fred Bianconi). Can we talk about betrayal of his friend?

Moses Santamaria : Yes, like Moses I can understand that. In life, we don’t always control our emotions. Personally, I have a kind of moral about it: I’ve never touched a friend’s ex, it’s something that blocks me, and the same for a friend’s sister.

But at the same time, if the two of them don’t love each other anymore, and if there are feelings, love, and things are going well, the other person knows that I’m not trying to steal his girlfriend. With Eve, it was supposed to be calm, long lasting and stabilizing for Manu compared to his previous relationships.

Actually, because the death of Elsa (Julie Boulanger) last year had affected him a lot…

Yes, it was heavy. He’s been through something toxic, because it was. And there it is reassuring. Eve is calm, works in connection with the culture… They both do very social work. We may have a certain view of the police, but to me it’s a job, like firefighters, where people have to deal with social misery every day. And school is also a place where we try to pick up the pieces of this social misery, even if we don’t always succeed.

These two people are socially minded and love to help others, eventually trying to do something for the city in some way.

Manu finds it difficult to watch his daughter grow up. How do you see this father-daughter relationship?

Manu already had to accept Camille’s girlfriend (Léonie Dahan-Lamort) because it’s his first love relationship and his first time and I think it’s always harder for a father to let his daughter grow up because there can be a cock behavior. He has struggled to find stability with his daughter, and when he tries to find her, she eventually wants to leave. to Korea to follow her boyfriend.

Finally is Manu a character in constant development for four years. He goes through almost initial stages: he had this relationship with Elsa, she dies, he experiences the loss of a loved one, then his daughter who runs away. He has to accept that, we realize that for Manu, who is a bit like the alpha male of the series, it is the women who make him grow.

We could also see that he now had a much more mature relationship with his ex-wife, Laetitia (Shirley Bousquet).

It’s peaceful, they’re friends… You have to grow up to accept it, you have to be an adult. How many people break up and go to war for years, or never reconcile? I know some around me, it has been a war for twenty years. After my first breakup, I didn’t manage to make friends with the person in question (laughs).

Manu still has a lot of love for his ex-wife, he always had something for his daughter, for Elsa, for Eva… And in his job he is surrounded by men and has real leadership. It has several facets: the shell he shows and the sensitivity he’d rather offer to the fairer sex, and also with his friend Alex, who he has to reframe when he goes crazy, because in the end it’s still Alex who breaks.

Just when Alex was again confronted by Gaëlle (Hélène Degy) during an infiltration mission and that he kissed her, he hid it from his friend. Do you think Manu was able to guess after all that he had feelings for his ex again?

He felt that something was wrong. But he can’t blame him because he did the same thing. When he hid Elsa, he didn’t tell anyone, not even his mate. So he can’t blame Alex for what he did himself. ISLANDn also realizes that Manu is going out a lot less lately. He’s growing up and that’s what’s important.

This is what I say to my classmates: sometimes, in everyday life, you have to be careful not to forget the development of a character. We haven’t played the same all the time for four years, it’s not possible. In life we ​​are constantly changing. The person you were two years ago is not the same today. And that, we have to integrate that into our characters.

To do this work you must have knowledge of people, in any case a desire for knowledge and above all for understanding and tolerance. Telling myself that I know the path that this person is going through because there are facets of myself that could have taken that path. We are made up of many different facets and we capture different realities depending on our sensibilities.

That’s what I find absolutely exciting about playing a character. And for that it is important to live passionately out of the game to do many different jobs, to meet many people with different backgrounds, to experience things fully, even if it means burning yourself out sometimes, to better understand the mechanisms at work. That’s why when you read a script, you can instinctively come across the right pattern.

I am very glad that I did not start acting at fifteen, because I am aware that one acquires a great depth and richness over the years in the exploitation of characters. Otherwise, it’s pretty smooth. I started doing drama classes in Paris quite late, I was 26-27 years old and I did theater and slam in the metro because it was a bit of a hassle.

I am 43 today and like a sponge I have absorbed many life experiences, but you have to protect yourself. I’m a lot more established than I was when I was 30, but we have to protect ourselves.

Can you tell us more about the plot you are filming in Un Si Grand Soleil?

There is a character who will be leaving the series. Manu investigates a warehouse burglary gone wrong. There were significant consequences inside this warehouse, with intentional or unintentional killing, and Manu is there to try to find out who did this. While, concurrently, dFrom a private point of view, he is dealing with his daughter’s departure.

What are your next projects with Un Si Grand Soleil?

I played in season 2 of the series Le Code, directed by Bénédicte Delmas, and in a short film produced by France TV Studio. And I want to start filming the TV movie I was born at 17, adapted from Thierry Beccaro’s book. It has been a good year for me.

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