In this episode, we talked to Riton Dupire-Clément about his work on the TV series Of Money and Blood, and with Emmanuelle Duplay for the film Emilia Pérez.

In this discussion, we look at the art of production design through two very different ways of building a world.

First, Riton Dupire-Clément, who shares his experience working on Of Money and Blood, a series shot entirely on real locations. With him, we talk about finding natural settings that subtly reflect a character’s perspective, in this case, the universe of extreme wealth and the meticulous work of dressing every detail so that social class is always present in the frame, visible yet never heavy-handed.

We also speak with Emmanuelle Duplay, a production designer with more than three decades of experience, who tells us how shooting Emilia Pérez entirely in studio offered a completely different freedom: the ability to invent everything. She describes designing sets like an architect but for characters rather than real people ; and the inspirations behind creating Emilia’s house, a space that had to feel true to someone who exists only in the story.

An episode about the choices that construct a world, whether it’s discovered in reality or brought to life from nothing.

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Anatomy of a Scene is produced and hosted by Jeanne Boëzec

Music by Fanny Martin

Editing and mixing by Fanny Martin and Jeanne Delplancq

Artworks by Lisa Carpagnano

Special thanks to Riton Dupire-Clément, and Emmanuelle Duplay for their participation

This podcast is commissioned by Unifrance

Follow @myfrenchstories on Instagram, Facebook, YouTube, Tik Tok and Threads to keep up with the latest news on French cinema and TV worldwide

© 2025 UNIFRANCE – ALL RIGHTS RESERVED

Hosted on Acast. See acast.com/privacy for more information.

In this episode, we talked to Valentin Rodriguez about his work on TV series Oussekine and with Célie Valdenaire for Bloody Milk.

In this discussion, we talk with two first assistant directors about the invisible choreography that keeps a set moving.

First, Valentin Rodriguez, who shares what it takes to stage a large-scale protest scene for Oussekine : from helping direct dozens of extras to helping recreate a recent historical moment through costumes, bodies, and streets. With him, we explore the strange mix of logistics and emotion that comes with working on a story set in a past that isn’t so distant.

We also speak with Célie Valdenaire, now a seasoned first AD in feature films, who tells us about Bloody Milk and the surprising expertise required on that set: learning from a farmer, navigating the unpredictability of animals, and

coordinating the delicate, high-stakes moment of a calf being born on camera.

An episode about scale, precision, and the quiet mastery behind scenes that feel alive.

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Anatomy of a Scene is produced and hosted by Jeanne Boëzec

Music by Fanny Martin

Editing and mixing by Fanny Martin and Jeanne Delplancq

Artworks by Lisa Carpagnano

Special thanks to Valentin Rodriguez and Célie Valdenaire for their participation

This podcast is commissioned by Unifrance

Follow @myfrenchstories on Instagram, Facebook, YouTube, Tik Tok and Threads to keep up with the latest news on French cinema and TV worldwide

© 2025 UNIFRANCE – ALL RIGHTS RESERVED

Hosted on Acast. See acast.com/privacy for more information.

In this episode, we talked to Nicolas Bolduc about his work on The Count of Monte Cristo, and to Hichame Alaouié for The Bureau.

In this discussion, we look at the craft of cinematography through the eyes of two directors of photography who have spent three decades shaping images across France and beyond.

First, Nicolas Bolduc who takes us behind the scenes of Monte Cristo, sharing how a film largely shot on location still relied on carefully constructed studio moments, including the prison sequence, where light becomes both a constraint and a language. With him, we talk about what it means, in this job, to choose the light, to control it, and to let it tell the story.

We also speak with Hichame Alaouié who reflects on the particular challenges of shooting long-form TV: collaborating with multiple directors and fellow DPs, adapting to their rhythms, and carrying a visual identity across episodes. He also tells us how The Bureau recreated the DGSE offices entirely in studio, an exercise in precision, architecture, and light.

An episode about the unseen decisions behind what we see on screen: the spaces that are built, the light that is shaped, and the hands that guide it.

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Anatomy of a Scene is produced and hosted by Jeanne Boëzec

Music by Fanny Martin

Editing and mixing by Fanny Martin and Jeanne Delplancq

Artworks by Lisa Carpagnano

Special thanks to Nicolas Bolduc and Hichame Alaouié for their participation

This podcast is commissioned by Unifrance

Follow @myfrenchstories on Instagram, Facebook, YouTube, Tik Tok and Threads to keep up with the latest news on French cinema and TV worldwide

© 2025 UNIFRANCE – ALL RIGHTS RESERVED

Hosted on Acast. See acast.com/privacy for more information.

In this episode, we talked to Julie Allione about her work on Wild Diamond, and to Marlène Serour for The Worst Ones.

In this discussion, we explore the delicate art of casting with two women who have shaped some of France’s most striking recent films. First, Julie Allione, a casting director for more than 20 years. She talks with us about the search for Liane, the young woman at the center of Wild Diamond and about the ethics involved when you’re casting a teenage girl in a region marked by its own stereotypes. How do you look for truth without falling into cliché? And what responsibilities come with that?

We also speak with Marlène Serour, casting director on The Worst Ones, with a decade of experience. Marlène takes us inside the casting process for The Worst Ones, from finding teenagers in northern France during the constraints of COVID to what it really means to build a casting team.

An episode about intuition, responsibility, and the invisible work that shapes who we see on screen.

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Anatomy of a Scene is produced and hosted by Jeanne Boëzec

Music by Fanny Martin

Editing and mixing by Fanny Martin and Jeanne Delplancq

Artworks by Lisa Carpagnano

Special thanks to Julie Allione and Marlène Serour for their participation

This podcast is commissioned by Unifrance

Follow @myfrenchstories on Instagram, Facebook, YouTube, Tik Tok and Threads to keep up with the latest news on French cinema and TV worldwide

Hosted on Acast. See acast.com/privacy for more information.

In this episode, we talked to Romane Bohringer about her work on Tell Her I Love Her, and to Rebecca Zlotowski and Anne Berest about A Private Life.

In this discussion, we look at how stories take form, slowly, personally, sometimes unexpectedly.

With Romane Bohringer, we explore the shifting line between fiction and documentary in her new movie Tell Her I Love Her: how you adapt a book that lives inside you, and how much of your own story inevitably slips into the work. 

Then we sat down to talk about A Private Life with Anne Berest and Rebecca Zlotowski, two friends who’ve turned collaboration into a kind of steady, shared rhythm. Together, we talked about what changes when you move from novels to screenwriting, from screenwriting to directing, and what friendship makes possible in a creative partnership.

An episode about the invisible gestures of storytelling, the ties that sustain us, and the unexpected paths through which ideas become stories.

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Anatomy of a Scene is produced and hosted by Jeanne Boëzec

Music by Fanny Martin

Editing and mixing by Fanny Martin and Jeanne Delplancq

Artworks by Lisa Carpagnano

Special thanks to Romane Bohringer, Rebecca Zlotowski, and Anne Berest for their participation

This podcast is commissioned by Unifrance

Follow @myfrenchstories on Instagram, Facebook, YouTube, Tik Tok and Threads to keep up with the latest news on French cinema and TV worldwide

© 2025 UNIFRANCE – ALL RIGHTS RESERVED

Hosted on Acast. See acast.com/privacy for more information.