Pop-Culturalist.com

Edouard Philipponnat, a multifaceted storyteller, is best known for his transformative performances in projects such as The Runner, What Happened to Monday, and Sophia.

This December, he reunites with Ridley Scott for the must-see film, Napoleon. Napoleon is a spectacle-filled action epic that details the checkered rise and fall of the iconic French Emperor Napoleon Bonaparte, played by Oscar®-winner Joaquin Phoenix. Against a stunning backdrop of large-scale filmmaking orchestrated by the legendary director Ridley Scott, the film captures Bonaparte’s relentless journey to power through the prism of his addictive, volatile relationship with his one true love, Josephine. It showcases his visionary military and political tactics against some of the most dynamic practical battle sequences ever filmed. Edouard shines as Tsar Alexander, an ally turned foe of Napoleon’s.

Pop Culturalist was lucky enough to speak with Edouard about Napoleon, what it was like reuniting with Sir Ridley Scott, transforming into his character, and more!

PC: Tell us about Napoleon, your character, and how this project came across your desk.
Edouard: I was lucky enough to have a little cameo in Ridley Scott’s Gucci. As soon as we finished that, he said that he had something else coming up. He liked me, and he said he wanted to give me more work. I didn’t hear back for a few months. It was towards the end of the year, and he reached out and said, “I’m doing Napoleon. Do you want to audition for it?” I said, “Great.” I was filming another movie at the time. Then three or four months later, I got the part in Napoleon. It was amazing. With COVID, it took a little while to get started.

But the movie is fantastic. I just saw it for the first time a few weeks ago. I’m very excited. It’s very different from what people are going to expect it to be from all the trailers and hype. It’s an adventure and a journey.

PC: You had such an extensive preparation process for this film. How did that help you step into your character’s shoes? How beneficial was it having done all that prep role as your part got expanded right before filming?
Edouard: It’s always helpful when you’re kept busy. Your anxieties are toned down a bit. We did do a lot of prep work, but I don’t think I have a formula/process. You do get a lot of reassurance from the research you do, but then you have to go in and see what you can deliver. It definitely helps you feel more confident and comfortable in their shoes when you do that research.

PC: In addition to acting, you’ve also written and directed, and have such an affinity for this entire process. How have your experiences behind the camera impacted the way that you approach your work on screen and interpret characters like Tsar Alexander?
Edouard: To give you the inside scoop, I directed a short film that isn’t my best work. I’m not a director. But I write for fun and about stories that I’m passionate about. It gives you a different perspective. You see it from a different lens and you’re able to think about it differently, especially with this project where there was a lot of improvisation. You’re able to play with the words.

PC: Alexander has such quite a transformation throughout the film when he comes into power with a bit more of a naïveté, but makes bold choices throughout, which you brought so much nuance to. As an actor, how did you create the space for yourself to embark on that journey and that transformation?
Edouard: Thank you so much. We were there for three and a half months on and off filming. There were a lot of rewrites being done as we went, like with any film, but what was interesting is my last scene in the movie was actually my first day. At that point in the film, there’s some time that has passed by. He’s a bit more grown up and more mature. After they saw what I did, they seemed happy with it. It seemed to have gone well. They were like, “Now, let’s go back to the start and make him more naive. Let’s play. You set up a great framework and now we can play because we know where this character will end up.” That was the direction that we took.

PC: In the film, Napoleon emerges as a mentor for your character. Who were the people in your own life who shaped the storyteller that you are today?
Edouard: What a question. There have been a lot of people. My family for sure. I was just telling a friend of mine that I grew up watching Pirates of the Caribbean. It’s still one of my favorite movies. I grew up watching Jack Sparrow, and it removed this idea of acting where you were transported into this world. It felt very natural and like what you were watching was real. That’s always been a source of inspiration. I’ve always wanted to take a realistic approach to my work.

Napoleon is two hours and 30 minutes of entertainment that’s meant for audiences. If I can convince you of its realness, that’s what I want. It’s escapism. That’s what people want. That’s what I want.

PC: Ridley really encouraged you all to improvise. How did that trust and freedom allow you to further take agency over your character? What was it like getting to collaborate with him again?
Edouard: It was amazing. What can I say? I’m very lucky and honored to be mentioned next to his name and so many people a part of this project. It’s a pinch-me moment for sure.

It’s been great because you’re obviously nervous. It’s intimidating, and that’s what it’s supposed to be. It brings you life. But this is such a high-level production and scale, but they gave us the freedom to play and try new things.

For example, something that Joaquin [Phoenix] did after rehearsal, he was like, “Why don’t we try this and this?” The scene took on a new life. I don’t think we said one of our own lines. We completely improvised a version of that scene. They probably couldn’t have used it, but it’s about being able to play in that playground. Whether it’s me coming in and joining them for certain scenes or them doing it through the production when you’re working at this high level and you’ve built that trust and have people who support you like Sir Ridley, Joaquin, and Vanessa [Kirby], it gives you the chance to elevate your performance and vice versa.

PC: You’ve also said in previous interviews that you had several pinch-me moments on set. When you look back at this experience, what will you remember the most?
Edouard: I was just looking at some of the stills, and I was like, “I don’t remember being there.” It felt so surreal because your adrenaline is so high, obviously so.

For example, the first take of a scene, you’re like, “Don’t mess this up.” Then all the other takes, you’re very focused on your job. But looking back at it, it felt so surreal. It’s almost like I’m not watching myself because it feels too big to be in. I expected to see a tree with blond hair. [laugh] Then as I’m watching it, I’m like, “That’s me.” I feel very lucky, happy, and fortunate to be in it.

PC: It’s a transformative performance. You’ve worked on projects of all sizes. How different is that filming experience when you’re working on a project that has a larger budget and scope like Napoleon versus an indie?
Edouard: You’ll never see eleven cameras again. It’s ridiculous. [laughs] They have a camera for the cat. They have a camera for the dog, the horse, the tree, the sky. It’s incredible. There are a lot of people on set. It’s a big, big studio film, so you have a lot of people, especially in the war scenes.

There’s like 50 of us trying to stay within these very confined tents because we’re trying not to be in frame. It felt like a live performance. There are actual people on set with us watching us. Usually, people are watching on monitors, but they were there with us in these tents. It’s incredible. Again, another pinch-me moment.

PC: The film is out now and it’s gotten incredible reviews. What do you think is resonating most with audiences? Is there a scene in particular that you’re excited for them to see?
Edouard: The whole movie, but that’s a big scene. [laughs] That’s a two-hour and 38-minute scene. I think it’s resonating with people because it’s such a different take. I was watching this thing on YouTube the other day, and Sir Ridley said it at the premiere as well, but Napoleon is one of the most written-about humans in the world. There have been 175,000 books written about him since he died. That’s a lot of material. The name Napoleon is like Da Vinci. You only have one chance at this. In my generation, we’ll probably only see one film of this scale for this figure. To be in it, and as an audience member, I think the intrigue is that it’s a rerun of history and it’s a very different take. It’s funny. It’s edgy and sharp. I think people are going to enjoy it.

PC: Speaking of different takes, you’re going from one big project to another and will soon be starring in Lost in Wonderland, which finds you playing a different Mad Hatter. Is there anything that you can tease about that project?
Edouard: It was great. We shot it in Budapest, in one of the most beautiful cities in Europe. It very much shows that city. It’s very grounded. It’s very indie. It’s raw. It’s not Disney. It’s very street. I like it.

PC: You’re such an exciting voice in the industry. As you look ahead, is there a dream role that you’d love to bring to life either in front of or behind the camera?
Edouard: There are a few. There are a few singers out there that I’d like to play like Kurt Cobain. I would literally jump off a cliff to play that role. There’s also a very famous French figure from The Little Prince. I have an idea of how a modern, indie, artsy film could look like.

To keep up with Edouard, follow him on Instagram. Napoleon is in theaters now.