Lucas Bravo may be charming as Gabriel, the chef who steals Emily’s (Lily Collins) heart in the series, “Emily in Paris,” but in the new film “Freedom,” the actor uses his charisma and good looks to steal money and jewels. An amusing scene has two women he robbed remembering little more than how handsome he was when questioned by the police.
Directed by Mélanie Laurant, this nimble caper film is based on the real-life exploits of Bruno Sulak. Bravo is well cast as Bruno, a risk-taker who robs supermarkets with his pal (Steve Tientcheu) while his girlfriend Annie (Léa Luce Busato) drives the getaway car. The thieves steal but they don’t kill. Eventually, they target jewelry stores—because banks are too dangerous.
However, they do get caught by George (Yvan Attal), a cop who has been tracking their exploits. But Bruno is crafty, and he manages to escape from prison, well, more than once. The cat-and-mouse game between Bruno and George provides the fun as each man always thinks they have the upper hand.
“Freedom” gives Bravo an opportunity to shine in his first starring role after supporting parts in films ranging from “Mrs. Harris Goes to Paris,” and “Ticket to Paradise” with Julia Roberts and George Clooney. The actor shows he has movie star chops, carrying the film with his suaveness. He may be lying when he claims the expensive watch he bought was his father’s, but he comes across as irresistible because Bravo effortlessly sells it.
The actor chatted with Salon about playing Bruno Sulak and making “Freedom.”
What did you know about Bruno before you made this film? Why did this charming rogue appeal to you as a character?
I didn’t know him before Mélanie brought him to my attention. She brought me the book by Philippe Jaenada. Once I read it, I asked her if there was anything made about him, and she said, “No. that is why I sent you the book, because I think this story needed to be told.” There may have been some weird, old documentary made in the '80s. Mélanie hates injustice and she saw him as a hero, or a symbol, who thought differently. She wanted to render justice to Bruno, and she wanted me to be Bruno. That was a lot to take in. I didn’t know If I was ready to be a leading man. I’m still in the learning stage of my career. She gave me all the confidence I needed to feel legitimate — to feel that it was my place and that I could be the one to do Bruno justice. I was grateful she saw Bruno in me and gave me the opportunity to explore things I did not know I could do.
Can you talk about how you created Bruno’s charm? He is suave and irresistible. What’s the secret to playing that?
That means we succeeded in finding that nuance with him. The way Mélanie filmed me allowed me to be natural. For me, love is in the details and less is more. She came close [with her camera] to observe me and film me in a way I’ve never been filmed before. It allowed me to show something that is not forced, or pushy, or, “Hey, I’m charming.” It allowed me to bring a vulnerable, feminine charm that is organic, and humble and apologetic. It was interesting that Bruno has a [interior anxiety] while also having a dark, dangerousness.
He is not arrogant. He doesn’t have a cocky swagger where he is pretending to be this bigger-than-life character. What did you think of his character? Is he just an adrenaline junkie and thrill seeker?
He wasn’t an adrenaline junkie until the end. He didn’t need more money, but he kept on going, even when Annie told him to stop. Mostly, what made him who he is, is his ability to contemplate nature. He was reaIly grounded. I was reading a journal he kept in prison, and I was mesmerized by the quality of his writing and the precision of his observations. There was poetry and intention in everything he would do.
I have a passion for Japan, and samurais who put intention in pouring the tea and drawing the sword — which is the opposite of modern civilization. I wanted to bring that to Bruno’s character. Part of his charm is that it is not selfless — it is inviting charm through intentions. Even if he’s doing something illegal or dangerous, everything else about him is inviting because it is rooted in nature and life.
What observations do you have about Bruno’s relationship with Annie? He loves her, he sacrifices for her, and he frustrates her when he gets caught. What are your thoughts about their dynamic?
It was very interesting to play that. Léa Luce and I found our chemistry early on. With him being an adrenaline junkie, there is something that goes with this lifestyle — robbing, and driving away, and being pursued, and going into hiding, and feeling all the pressure that comes with that. It also comes with a need for release. Their relationship was very passionate. When you rob a bank and you go home, you don’t get [food] delivered and watch TV. You have sex. It was like they were 16 and in their first passionate relationship. It was interesting to be this man and with Annie, play this couple that doesn’t think about anything else, or care about tomorrow.
Likewise, how did you read Bruno’s bromance with George? They tease each other almost like lovers. Do you think Bruno wanted to get caught?
I agree. First, I met the real George for lunch, and he was fascinating. He is like from another era. He was talking about the '70s and '80s and he made me realize how much has changed. When weapons became a tool for arresting people, he didn’t want to be part of [the police] because it changed the rules of the game. There had been respect, and a code. When Bruno’s story ended, George didn’t want to be [a cop] anymore. He has such a sparkle in his eye, and a joyful face, but he had a lot of melancholia. Talking about Bruno, he was very deliberate with his words. He was chasing Bruno for over a decade, and even if he says something nice about him, Bruno was a criminal. That was my first step in this relationship, Yves Attal brought something so alive to it, and he did a lot of improv. I agree, it is the main love story in the movie. They respected each other because Bruno was in the military and became a criminal and George messed up in his youth and then he became a cop. They needed each other That’s why Bruno would call George after every heist — not to brag, but to be like, “Here’s the life you could have had.” It justifies his line, “I could have shown you how to live life.”
When Bruno was in jail, he planned to escape. What do you think of his experience with catch and release? Was this part of his game, to take risks? He is impudent in court, which probably did him no favors. He is rubbing it in their face.
We played it a bit presumptuous. I don’t think he was that presumptuous when he was in court. You could not leave him in a box for too long. He’s too free, too wild. He started his career as a skydiver. He was a magician at some point. Prison is unfit for him. It would kill his soul. He didn’t want to be tamed or reduced by the carceral system. He was escaping because he had no other option. He needed to be in fresh air. He needed to be free.
Bruno does not like being told what to do. He enjoys his freedom, and claims when he is in prison, he is still free. What are your thoughts on his philosophy?
I’m a bit like that as well. I grew up with a very tough mother — in the best way — but she raised me tough so when I cleaned my room of my own will, I’d enjoy it, but if she asked me to clean my room, I wouldn’t want to do it anymore. When people would ask me things, it turned into me never asking anyone for anything. But that’s a problem. You need to reach out to your friends for things from time to time. Asking others for help feels good. I recognized that in Bruno. I will be here for you, but I don’t know everyone. It is a form of rebellion.
On what occasions do you take risks?
[Laughs.] Lately, when there is something that I fear, I run towards it. Fear is an indicator of where you need to go. We need to fail more. We need to accept that failure is OK. I feel society is telling us that there are no second chances, but we need to not take ourselves too seriously and learn from our mistakes. For a long time, I didn’t want to fail or face failure, so now that is the risk I take.
Are you doing things like parachuting?
I have parachuted. It wasn’t a scary experience, because compared to jumping with a rope, you don’t feel the ground; it is like you are floating. But I can’t talk on stage without feeling every single person staring at me, and if I see a face that is disengaged, I lose the script and think he saw through me and that I’m a fraud. Talking on stage in front of an audience really stimulates all my childhood traumas and the [lack of] confidence thing. I was invited to speak at the United Nations about deep-sea mining, which is something I am passionate about. Just the text itself gave me a heart attack. Fear is a great motivator. I wrote the script, and I did it. But I lost my sight, my throat was dry. Those are the tiny risks I am taking.
Recently, I have been scared of heights and have vertigo, and as we were fighting [against] deep sea mining, I went on an activist’s friend’s boat in Norway. It is a three-mast boat, and we were cruising towards the North Pole. Everyone has to participate — you steer, you make food, but you also have the bring the sails up and down. I was part of the shift that had to do that, and you climb up 30 meters and at the top, you lean back, and everything is shaking. There is nothing holding you, you just balance with your feet and the boat is moving. That was the scariest experience I ever had, but I just want to go back!
Lastly, can you say anything about “Emily in Paris”?
It was a nice journey, and I will always be grateful for it. We have no news on Season 5 yet. We probably will know more in June.
“Freedom” was released globally on Prime Video November 1.
