On the outskirts of Paris, in a vast, industrial-looking studio in Bry-sur-Marne, the clocks have turned back to the 1770s. Opulent decor — gilded furniture, flower-adorned curtains and marble ever…
On the outskirts of Paris, in a vast, industrial-looking studio in Bry-sur-Marne, the clocks have turned back to the 1770s. Opulent decor — gilded furniture, flower-adorned curtains and marble everywhere — fills the soundstage.
Emilia Schüle, a rising Russian-born German actor, plays Marie-Antoinette, an Austrian noble who married off to Louis-Auguste, the future king of France, while she was still a girl. She was sent there with one goal: Deliver an heir, preferably of the male persuasion. But nothing went as planned. Her husband refused to touch her for seven years and Marie-Antoinette’s rebellious ways wreaked havoc on the royal family.
Previous portrayals of Marie-Antoinette “don’t explore the trauma and feeling of abandonment that this person must have felt,” says Schüle. Drawing a comparison with Princess Diana, she also describes Marie-Antoinette as a “rebel,” who was “modern, emancipated, and fought for equality and for her personal freedom.”Davis’s feminist take is one aspect that appealed to Travis.
The French protocols, then called “etiquette,” were created by Louis XIV, the “Sun King” who was portrayed in the series “Versailles,” produced by the same team as “Marie-Antoinette”: Claude Chelli at Newen-owned Capa Drama, Banijay Studios France and Canal+’s Creation Originale label. During his time on “Versailles,” Chelli learned the time-consuming process it takes for period dramas, since simply changing costumes and wigs could take nearly two hours. “Marie-Antoinette” took the challenge to a whole other level because she would “change wardrobe every 10 minutes.”
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