Camille Cottin opens up on crossing borders on screen, from “Call My Agent!” to “House of Gucci”, “Stillwater” and “A Haunting in Venice”. Honest, sharp, and full of craft.
What lands on camera looks effortless. In interview, Camille Cottin lays out the real work behind it – moving between French and English, comedy and thriller, intimacy and scale – without losing the wit audiences first loved.
Camille Cottin interview: the leap after “Call My Agent!”
The pivot is clear. “Dix pour cent” – known globally as “Call My Agent!” – premiered in 2015 on France 2 and wrapped its fourth season in 2020, just as the series exploded on Netflix and found a worldwide audience. That visibility unlocked a new track. Directors called. Offers widened. And yes, the pace quickened.
In conversation, Camille Cottin often frames that switch as a craft issue, not a fame story. Comedy trained the timing. Drama stretched the listening. The result shows: she jumped from razor-sharp Parisian satire to international sets without dropping her natural dry spark. Viewers felt the continuity, even when the genre flipped.
From “Killing Eve” to “House of Gucci”: roles that stretched Camille Cottin
Timeline helps readers map the change. Camille Cottin joined “Killing Eve” in 2020 as Hélène, returned in 2022 for the final season, and slipped into that series’ chilly elegance with disarming ease. The same year-span saw her step into Tom McCarthy’s “Stillwater” in 2021, opposite Matt Damon, premiered at Cannes that summer. She played Virginie, a Marseille single mother written with lived-in restraint.
That autumn came a sharp turn. Ridley Scott’s “House of Gucci” arrived in 2021, with Camille Cottin portraying Paola Franchi. Different wardrobe, different gaze. Then 2023 brought Kenneth Branagh’s “A Haunting in Venice”, where she appeared as Olga Seminoff, a role that asked for quiet tension rather than showy bursts. The throughline is methodical: switch language, hold the character’s center, stay present to partners, not to noise around a blockbuster set.
What Camille Cottin says about fame, language and choosing scripts
Interviews circle back to language because it is the daily tool. Acting in English changes breath and rhythm. Camille Cottin does not romanticize it – she treats accent work like choreography, something to rehearse until the body stops thinking. Directors matter just as much. Ridley Scott, Tom McCarthy, Kenneth Branagh: she names them for their clarity on set, the way they protect actors while moving fast.
Dates anchor the journey, context grounds the choices. “Dix pour cent” began in 2015 and closed in 2020 after four seasons; “Killing Eve” chapters arrived in 2020 and 2022; “Stillwater” and “House of Gucci” both landed in 2021; “A Haunting in Venice” followed in 2023. Stack those titles and a pattern appears: Camille Cottin mixes auteur-led projects with audience-forward stories, keeps one foot in France, one abroad, and keeps say over how work fits a calender already full with life off set.
The personal perimeter stays discreet, by design. She often describes acting as a collective sport – ensemble first, spotlight later – which explains the magnetism of projects built around teams. It also explains why her characters feel grounded rather than ornamental, even in starry ensembles. The strategy is simple: choose scripts where character drives plot, not the other way around.
For curious viewers, the map is easy to follow. Start with “Call My Agent!” to catch the ironic spark that made her a household name in 2015. Jump to “Stillwater” for the intimate, human-scale groove that impressed Cannes in 2021. Then watch the precision in “House of Gucci” and the contained unease of “A Haunting in Venice” from 2023. Along that line, the interviews add the missing layer – how Camille Cottin calibrates voice, weight, and humor so each role stands on its own while still sounding unmistakably like her.