French actor Andy Gillet, one of the international guests of this year's Pula Film Festival where he presented himself with the short film Vieillesse ennemie, is a charming interlocutor and a photogenic young man so it comes as no surprise that he worked as a successful fashion model for some time in addition to acting.

You are an actor and a fashion model. Which of the two careers began first?

When I came to Paris to enrol at an acting school, I started working as a fashion model so I guess I started modelling first. I like to travel and meet new people and the job of a fashion model enables me to do so. I paid my acting lessons with the money I earned on modelling.      

Today you work as a fashion model only occasionally.

Yes, and mostly outside the French market. The reason is rather simple. Most film directors see fashion models only as pretty faces and are not willing to offer them challenging roles. I had to choose. I had no doubts and I chose acting.

You appeared in acclaimed director Eric Rohmer's film The Romance of Astrea and Celadon. How did this collaboration come about?

Rohmer’s producer Françoise Etchegaray saw the production of the acting school. She noticed me and recommended me to the director who called me for an interview. The interview lasted for almost two hours during which we did not talk much about film but rather about art in general. Rohmer wanted to check whether we were on the same wavelength, whether he would be able to get from me what he thought was necessary for the role of Celadon. Finally he asked me to read a part of the text in Old French and he gave me the role. That has been one of the most pleasant and least stressful auditions in my career. 

What was it like actually shooting the film?

Rohmer does not give clear and strict instructions to his actors. In the mornings we would usually rehearse a scene at a location and he would observe. Then he would position the cameras and shoot the scene as he envisaged it, in most cases without repetitions. Since we acted in Old French, this practice required great concentration.

Which of the two approaches feels closer to you?

I like to be well prepared when I come to the set. I like to be acquainted not only with the text but also with the character’s background and the time in which the action is set and plenty of other things. However, when I come to the set, I want to forget all of it and open myself to other actors and let real magic break though. Unfortunately, the camera does not capture everything that occurs on the set. For instance, when Stéphanie Crayencour who played the role of Astrea would start singing, everything would fall silent on the set and this can not be felt to such an extent on the film.

What was it like to shoot Vieillesse ennemie?

It was pretty tiresome because we shot mostly at night and in winter and when the temperatures are below zero, it is not very pleasant to spend several hours outside. But you forget all about it when the final result is good. 

You also appeared on stage.

I would like to reappear on stage but the real opportunity opens up rarely. As I am not an actor with a university degree, subsidized theatres with most of the projects I’m interested in are not that accessible for me. I have offers coming from private theatres but those are primarily commercial projects that I don’t find challenging enough.  

You have just finished the shooting of the film Remembrance of Things Past.

It’s in fact two films. It was divided into two because the plot is very extensive. I portrayed Proust’s best friend. 

Directors mostly engage you in costume film. Is there a role you wish to play?

If we talk about costume films, than it would definitely be Dorian Gray. I like multi-layered characters who are not black and white. On the other hand, I would finally like to play in a modern-day film.