As a fan who has admired Lucas Bravo‘s acting since the early days of “Emily in Paris,” it’s fascinating to see how his relationship with the label “boy next door” has evolved over the years. It’s clear that he’s grown and learned from the experience, accepting the love and opportunities it brought him while also pushing himself to explore darker, more complex roles.
⚠️ Attention: This discussion includes spoilers from the first part of Season 4 of “Emily in Paris,” currently available on Netflix. Proceed with caution if you haven’t watched it yet!
For actor Lucas Bravo, reprising his role as the charming chef-turned-restaurateur Gabriel in the fourth season of “Emily in Paris,” created by Darren Star, meant stepping back into the character’s original, witty, and lighthearted persona.
“When you’re deeply immersed in your character and have been feeling somber, longing for something slipping away, it’s refreshing to rekindle the spirited, flirtatious side – and to portray a relationship that’s willingly embraced by both parties,” Bravo conveys to EbMaster.
The focus is on the connection between Gabriel and Emily Cooper, portrayed by Lily Collins, a bubbly U.S. marketing executive who has acclimated to Parisian life. After four seasons filled with romantic tension, Emily makes up her mind to pursue a romantic involvement with Gabriel, a neighbor in Paris who quickly became one of her closest friends — even though Gabriel’s former partner, Camille (Camille Razat), is expecting their first child together (or so it seems).
“Bravo expresses enthusiasm about where Emily and Gabriel’s relationship might develop after their passionate encounter at the end of Season 1, even though they weren’t certain if they would reconnect again. He was eager to film those scenes and believes it allowed us to intensify the connection and chemistry between them.”
In the following passage, Bravo talks about the process of filming Emily and Gabriel’s long-awaited romance story’s beginning (as well as the subsequent turmoil caused by Camille’s secret in the midseason finale) – which will be available on Sept 12 for part 2 of Season 4. He also shares insights about the difficulties of performing comedy in a foreign language, the cultural differences he encountered while living in America, and how he has come to accept the “neighborhood boy” image that has characterized his career so far.
In Episode 3, Emily chooses to dance with Gabriel instead of Alfie at the grand masked ball. Can you elaborate on the feeling of capturing that tender dance scene between Emily and Gabriel on camera?
As a seasoned actor with a wealth of experiences under my belt, I can confidently say that this particular scene was one for the books. The anticipation was palpable as we delved into our characters, eager to present not just their external selves, but also the essence we were rooting for and the secret world they inhabited. The day was filled with intense focus and determination, as we strived to bring authenticity and depth to our performance.
Did you have a favorite scene from the arc of that relationship in the first half of this season?
Among all my favorite scenes, this one stands out as it spans an entire night from Episode 5. It’s the moment when he introduces Emily to the other chefs, they engage in the game of Biscuit, walk across a bridge, confess their love for the first time, and then return home. This is unique because it goes beyond mere reunions or conflicts; it offers a peek into what their relationship could blossom into. Filming these scenes was a delight, and we relished deepening the connection, making their bond even more enchanting.
In a nutshell, the fifth episode concludes with two major suspenseful moments: Gabriel finds out he won’t receive the Michelin Star, and Camille uncovers that she isn’t carrying his child. As we approach the end of Part 1, let’s ponder where Gabriel might be left, and where we might encounter him at the beginning of Part 2.
It appears to me that we’ve eased his burden, for while he yearns for the star in his dreams, he was heavily burdened by stress. In essence, he has aspirations, but striving for Michelin Stars is no small feat. It’s a constant source of worry, requiring considerable effort, resources, and people. I believe he found some relief.
Ultimately, it’s more accurate to say that he’s not wallowing in denial; rather, he’s consciously shifting his perspective to appreciate what he currently possesses – Emily and the upcoming baby – instead of being preoccupied with elusive desires. While we may perceive him as being in denial, his tranquil demeanor suggests otherwise. At the start of Part 2, we discover a man deeply immersed in the euphoria of his love for Emily and eager to delve deeper into their relationship.
How will Gabriel handle the news that Camille is not actually pregnant with his baby?
It seems quite significant for him, given how overjoyed he is about the baby. The prospect of the baby has him in its thrall, and it’s boosted his courage to pursue the Michelin Star and Emily. However, this confidence might waver. Despite the deep affection between him and Camille, and his potential to forgive her, it’s a deception. It’s not an unusual scenario for him, as he often faces numerous challenges.
Before you joined this series, you were employed part-time as a sous-chef at a restaurant that combined French and Japanese cuisines. As for the scenes where Gabriel is seen cooking in the kitchen, just how much of it is really you performing those actions?
We’ve progressed to a stage where I’m primarily handling tasks like chopping, preparing casseroles, and filming close-ups of hands using knives. However, we now have a professional dubbed as a “stunt cook” by Darren. This is because we required an exceptional menu worthy of a Michelin Star. The chef we hired has a green Michelin Star, which indicates that the ingredients are sourced from within 20 miles of their restaurant and they focus on recycling. He’s devised an exquisite menu, and the dishes you see in the scene are authentic and edible. These aspects are beyond my control, but they’re simply too delicious!
To be honest, during filming, it’s necessary to prepare multiple takes of the same scene elements, which includes food, to allow for shooting, consumption, and reuse. This can become quite overwhelming in the heat of a busy production season. With my focus divided between lines, set, and other responsibilities, I can’t realistically arrive at the studio early in the morning to prepare 25 plates for various scenes. Therefore, it’s best to leave this task to the professionals who specialize in such things.
Performing comedy can be quite challenging for an actor, yet it’s remarkable how skillfully you and your fellow actors on this show manage it in a foreign language. I was wondering if you’ve encountered any significant differences when aiming for humor in English versus French?
Fun fact: I’ve been anticipating that question for a good five years now! You see, Camille and I, as well as Philippine [Leroy-Beaulieu, who portrays Sylvie], have been discussing this very point. However, it seems no one has ever inquired or acknowledged the fact that we perform all our scenes in a language other than ours. Isn’t that fascinating?
A portion of us felt a sense of pride. We thought, “If it’s not up for debate, that means we’re doing it right.” Yet, I adore that quote: “Just because someone carries it off effortlessly doesn’t mean it’s lightweight.” It requires more effort, as our minds must comprehend and then memorize the dialogue. The most challenging aspect is pronunciation since Americans articulate clearly, and French is more about resonance in the throat. There are times when we encounter words that are tough to pronounce. We keep trying and trying, and we have to reshoot scenes multiple times.
In my opinion, French acting seems to be more focused on naturalism and minimalism, whereas English acting tends to be more open and expressive. In French acting, you’ll notice less facial expression, smaller eyes, quieter voices, and less physical involvement. English acting, on the other hand, is often more expansive, with larger gestures, bigger eyes, lower voices, and a greater emphasis on body language.
Is it easier for you to land a joke in English or French now?
I do believe that my comedic timing is better in English, and I find it easier to land a joke in English. It’s a great language for jokes. I grew up with a lot of American movies and shows, so my comedic timing and sense of humor on set while acting in English is more rich and I have more resources, so to speak. I feel like I’m funnier in English than in French.
In the movie “Ticket to Paradise,” as I shared the screen with George Clooney and Julia Roberts, after wrapping up scenes, I’d occasionally improvise some humor, which had them in stitches. I found myself thinking, “Amazingly, this is hitting the mark!” Their laughter boosted my confidence, encouraging me to delve deeper into my comedic delivery in English, and I discovered that there was a rich vein to mine.
What kinds of shows and movies did you grow up on?
As a child, my preferred film was “Dances With Wolves,” which captivated me due to its portrayal of leaving one’s own kind to immerse oneself in a new culture without attempting to alter it, but rather becoming an integral part of it. This theme resonated deeply with my experiences as a kid, marked by frequent moves and city changes, and the ongoing process of adapting and transforming myself.
“In a Bygone Era, entitled ‘Once Upon a Time in America,’ lies an intriguing narrative that is both raw and authentic, marked by elements of extreme brutality and violence. What sets this tale apart is the unique and extraordinary aspects it presents, aspects seldom encountered elsewhere.”
Interestingly enough, when I turned 16, “The O.C.” was the TV series that captivated me. For some reason, I found myself watching it, which later led me to become engrossed in “Sex and the City”. It’s quite ironic because this was before I worked with Darren. However, my understanding of relationships and English vocabulary were largely shaped by “Sex and the City”.
It sounds like “The O.C.” and “Sex and the City” were your entry point into American culture.
I find myself agreeing. Just as some Parisians might say, “Emily in Paris” doesn’t accurately portray the city,” I can relate by saying my initial impression of America was shaped by a show created by the same team.” I understand the subtleties and acknowledge that we must accept things for what they are – it’s only one aspect, one viewpoint through which a story is told. You may either accept or reject this perspective, but it serves as an escape and form of amusement – and that’s our objective. This is what we aim to achieve here.
What was the most significant cultural difference you encountered, having lived in France and then moving to the U.S., especially during your time in Los Angeles? This show often explores the culture shock Emily experiences as a U.S. expat in Paris.
Stepping out of the confines of law school at 18, Los Angeles beckoned as a land of unbridled liberty for me. It was my inaugural taste of self-reliance, with ample time, space, and freedom at my disposal to explore and roam as I desired. The cultural dissonance I encountered was intertwined with my personal journey, but I’d venture to say it was the generosity that left me most bewildered. There’s an unapologetic drive in America to continually improve, expand, and elevate experiences, which was a stark contrast for me, a young adult, to witness. From the oversized restaurant plates to the intense flavors, this was the cultural shock I felt the most acutely – the insatiable appetite for progress and betterment. Contrastingly, in France, we strive to preserve the past and minimize excess, with an emphasis on quality rather than quantity.
In simpler terms, I’m expressing that there seems to be a strong emphasis on labeling things in the United States, with unlabeled items often viewed as suspicious or unwanted due to an inclination towards categorization and definition. On the other hand, it appears less rigid in France, leaving more space for ambiguity and discovery.
In the past, when “Emily in Paris” gained popularity and people started calling you a “heartthrob,” you confessed that this made you quite self-conscious and somewhat uneasy because you didn’t want to be labeled based on your appearance. Now, I wonder if your feelings about that label and being referred to as the “boy next door” have evolved over time?
After completing the first season, I found myself yearning to explore a different character and move away from my previous role. When Netflix inquired about my desires for future projects, I expressed my wish to take on a more morally ambiguous character, one with darker undertones – essentially, a villain. I wanted this role to demonstrate my acting range and prove that I’m not just the typical ‘boy next door.’ Unfortunately, nothing substantial came of these discussions.
Instead of rushing to change my image quickly, I decided it’s better to let people get to know the initial impression of me first. Some people resonated with that portrayal and it opened up numerous opportunities and kindness in my life. Now, I embrace this more fully, and this is how I concluded the fourth season. I want to return the love and affection shown to me by fans who connected to my work. I won’t try to distance myself completely from Gabriel, as he was instrumental in launching my career. So, I find peace with it now.
It’s amusing, because as soon as I lost interest in performing those roles, they seemed to find me instead. For an entire year, I was filming wild movies filled with eccentric characters. It was a valuable experience, and I feel like all of us — the cast — are growing from it. We were greenhorns when we began, and I had absolutely no prior experience. Comprehending things requires time, and I believe it took me around three to four years to truly grasp them and appreciate the journey for what it is.
What kinds of projects are you being offered now?
I’m currently trying out for roles. I appreciate that they aren’t overwhelming me with scripts, as it keeps me alert. Comfort can be detrimental for actors, discouraging us from taking risks. This can lead to becoming overly self-conscious, which is something we should always avoid in acting.
Having had the privilege to work with some exceptionally talented individuals in the film industry, I must say that my experiences have been far from ordinary. This year, for instance, I found myself working alongside the remarkable Mélanie Laurent on “The Balconettes,” a project that graced the prestigious Cannes Film Festival. My role was that of a sociopath, an intriguing departure from the characters I’ve portrayed in projects like “Emily in Paris.”
As we discussed your future collaborations with Mélanie, I’m curious about what aspects of her previous directorial works drew you towards wanting to work closely with her?
For years, I’ve harbored the desire to collaborate with Mélanie. It appears that the film we worked on might have been her eighth project, and let me tell you, she is an exceptional artist. Mélanie works purely out of love, and every production she’s ever directed has left me in awe. Among her works, “Le Bal des folles” [“The Mad Women’s Ball”] holds a special place for me as an admirer. As both an actress and a spectator, I have long respected Mélanie, and as a director, she is nothing short of amazing.
Working with female directors is truly rewarding as they offer a unique perspective. They know how to capture you in ways men might not, emphasizing your femininity and vulnerability – aspects that are particularly significant to me at the moment. I believe it’s crucial for cinema to portray more of these qualities, as we’ve had an abundance of masculine narratives for centuries. Collaborating with artists like her brings out those aspects in you, and I learned so much from her. It wasn’t just about what attracted me to work with her; it was more about the fact that she believed in me for that role. I was simply grateful for the opportunity, and I hope I did justice to it.
This interview has been edited and condensed.
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2024-08-17 02:49