Versailles interview with Steve Cumyn
Steve Cumyn on playing Colbert, Minister of Finances, one of the cornerstones among King Louis XIV's advisors; and on the turning point for a character who is, at first, pure politician
© Megan Vincent
October 7, 2017 by Nicole Oebel @philomina_
Note: The interview contains mild spoilers on Versailles season 2.
Thank you so much for making time for us, Steve!
Thanks for setting up and doing these interviews. It's been a treat to read what's been on the minds of my cast-mates thus far. What an intelligent and talented bunch! They do set the bar pretty high and I'm honoured to be counted among them.
You have just finished filming for Versailles season 3. Looking back, what comes to mind when you think about this journey? Approaching a first, a second and potentially a last season is all a little bit different for an actor, I imagine?
This is my 30th year as a professional actor. I've always told myself that if I ceased to continue learning anything in this profession, then that would be the time to quit. What comes foremost to mind, as I wrap season 3 of Versailles, is "I want more!" As a theatre actor, I love the immediate gratification of audience connection, the jolt of electricity from the adrenaline rush of performance and the communal illumination of human experience. Through my time on Versailles, I have worked on translating what I know as a theatre actor to the work I do for the camera. Quite simply, I've gained a lot of confidence over these past 3 years. I'm very grateful for having had that opportunity and I will try to carry that forward. And I couldn't say that without paying tribute to the skilled actors around me, whom I have watched and from whom I have learned much. Again, I'm so grateful to have had the opportunity.
Jean-Baptiste Colbert, Minister of Finances, is one of the cornerstones among Louis's advisors and he conveys most of the political and economical context of the storyline to the viewer. How do you go about breathing life into a character who, at first, has to carry a lot of exposition?
I always try to give any character I play something to need. Be it information, respect, discretion, aid and support, love, revenge, a laugh, solidarity, and of course, position and power - there is always something driving that person to act the way they do and say the things they say. In Louis's volatile and at times dangerous court of decorum and etiquette, the stakes are always high as position and lives are in the balance at all times. So exposition may seem mundane on the surface, but there is always much underneath. After all, Colbert would probably not have been in the position he was in had he not (according to some of the history I've read) whispered a few words in Louis's ear at an overly-lavish party thrown by Nicolas Fouquet, his predecessor at his beautiful Chateau, Vaux-Le-Vicomte, one night. Can you say: "Mismanagement of state funds?" Fouquet was immediately fired, his Chateau became the inspiration for Chateau Versailles, and Colbert had won his job!
In season 2 they added more layers to Colbert especially in his storyline with Isabelle. In terms of character development, are you happy with Colbert's journey and how it's continued in season 3?
David Wolstencroft said one thing to me early on about Colbert. "He's pure politician." The words "untrustworthy", "mercenary," "power-hungry", "self-serving", and "greedy" came instantly to mind. That's all fun to play, if a bit one note. But one thing kept nagging at me. Where's his family? What does Colbert care about when he's not dressed so severely to the chin in oh-so-austere, ministerial black and white? I was SO glad when his neice Isabelle was introduced. Finally something human and meaningful for Colbert to care about; and more dimension to reveal. But, alas, Colbert's bureaucratic nature shines through and he takes his eye off the ball. This moment, for me, was a turning point for the character and a more solid moral centre begins to take shape.
© Tibo & Anouchka, Capa Drama, ZodiakFiction & Docs, Incendo, Canal+
As Colbert you have been part of lots of the huge scenes involving many actors and point of views, dinner, gatherings, Louis's nightmare in which he gets stabbed, the King's Circle, the Sultan's visit... Which do you remember as the most interesting or challening to shoot?
I smile and laugh when I think of these huge scenes. They take forever to shoot and they can be a nightmare for the director, AD's and crew, because the actors and the background players can get tired and loud and needy, especially under much hair, layers of exquisite, but restricting costuming, and elegant but painful heels. Things were reduced, at times, to utter mayhem! But those days were also extremely entertaining with so many delightful characters. Mostly, I think of Joe Sheridan. He's the warmest, funniest, most generous actor I've ever met. He plays Louvois, Minister of War, and he and Colbert, who HATED each other in real life, were always paired together, ministers forever at odds. Well, he kept me laughing non-stop during the long days and we became inseparable on set, and I know I have a friend for life, off set. He has literally saved my sanity on many occasions, and I'm so grateful to have met him. He did, however, make it impossible to hate him during scenes in which our characters were supposed to be opposed to one another. In my mind, I had to allow Colbert to love him, deep down, though never show it.
In the King's presence Colbert usually tries to be a kind of mediator, upon Henriette dying though he spoke to Louis about her very existence keeping Philippe's power in check. I was wondering what do you think he was referring to or implying here?
Great question! As one of Louis's chief advisors, it was probably expected of Colbert to keep the King's mind open to all possibilities, and wary of potential threat from every corner. So, Colbert, Spock-like, with emotion constantly giving way to logic, and Henriette having been poisoned, the poisoner still at large, sees no one is beyond suspicion. There is an immediate threat to the life of the King. Colbert, knowing the often contentious relationship between Louis and Philippe, see's it as his duty to keep the King wary of any potential threat, even from family. Pretty audacious though of Colbert to voice his suspicion with Philippe only a few paces away in that scene! Oh, and also, there's the little thing of Henriette having been from England and her marriage to Philippe bringing a certain amount of stability between the two countries. With her gone, that stability, and therefore Louis's stability is threatened, marriage always being political. That's the way I saw the scene, anyway.
Colbert's words to Louvois in the eavesdropping scene in 2x05 are a turning point for Louis and his storyline in the second season. We rarely see Colbert in a private conversation. What did you make of his comments "a den of depravity", the King is "not his brother" and "Where is the glory in that" in terms of Colbert's opinion about the King?
"Den of depravity." Colbert was a pious man. And it's his job to keep his eye on the financial records. He finds himself aboard the giant ship "Versailles" being captained by a man with a grand(iose?) vision. Keep the nobles close, give them a sense of importance, wealth and style, entertain them with music, art, dance and theatre, keep them thinking they are at the centre of the universe and you can keep them from rebelling. But the nobles are still essentially prisoners under the vain and megalomaniacal eye of Louis. Colbert simply begins to see the flaws in the grand design. The drinking. The gambling. The powders. The inmates are not happy! It becomes clear to him that Versailles is beginning to show its underbelly.
"The King is not his brother." The rest of that sentence is: "On the battlefield, the king is not his brother." Having lived with Louis and Philippe for a long time, Colbert would have been aware of both their strengths and weaknesses. He and Louvois are sharing what they both know, and that is that Philippe has proven himself to be the smarter and more adept warrior.
"Where is the glory in that?" As in: Where is the glory in staying home while his brother does all the fighting for him? Colbert is perhaps wishing his King would in fact rise to the occasion and go to battle himself. Time to live up to the hype, Louis! Add another layer of polish to that glittering brand! The Sun King!
I love this scene. It gave both Joe and I an opportunity to drop the mask of court formality and to be as honest as two co-workers can be about their boss. Here are two men on the same team, perhaps opposed in view, but commiserating on the job, and testing their waters of faith in the King and his vision. It's beautifully revealing. And we also witness the enormous talent of George Blagden as he takes Louis in a new and unexpected direction.
© Tibo & Anouchka, Capa Drama, ZodiakFiction & Docs, Incendo, Canal+
Colbert and Philippe have been such a fun pairing in season 2, the 400.000 Francs/drunk Chevalier scene and also Colbert trying his very best to guide 'King Philippe', facial expression offering up all kinds of emotions from concern to amusement, from bewilderment to keeping his composure. How did you get to do more and more of the funny scenes and do you enjoy the humour in these scenes?
Alex Vlahos is a wonder. He's beautifully compelling to watch, and absolutely authentic physically and emotionally as Philippe. He's a real joy to play opposite, because what he offers is always genuine. So, the humour of these scenes comes directly from his initial reluctance to play Louis, his "what's in it for me?" attitude, his taking the opportunity to poke fun at Colbert's stuffiness, and his desire to gamble with and play for keeps against the Sultan. Really, all I had to do was show up and stay in character, because he gave us all so much to play.
"'Eliminating the suspects' doesn't mean the same to me as it does to you!" to Marchal in 1x10 and "This is highly irregular!" to Philippe in 2x06 are among Colbert's best lines. What is your favourite line?
Honestly, the first line I got to utter as Colbert remains my favourite: "We can have War. Or we can have Splendour. But I do not believe we can have both."
Talking about maturity as an actor Alex mentioned he loves watching you and a few other actors on set being able to chat and laugh before a take and then give it everything. How do you feel about that? I'm thinking especially about working on fun scenes in comparison to deeply emotional ones.
Every scene presents its own challenges. I try to remain flexible. I try to be aware of what my fellow actors' challenges are that day. Do they carry the weight of driving the scene, with the bulk of the lines, or the tears to shed? Where are they at as people that day? Are they tired? What's their mood? Is there room for joking around or is it a bad idea that day? Are we all just too hot or too tired to have fun? Have I done enough prep work? Where is the director's head at? What's he or she thinking? Am I in agreement? How can I voice my opposition delicately if in fact I had a differing idea? Can I stay open? Am I too much in my own head to allow the scene to flow? Do we need to break the tension in the room or is it a better idea for the scene if we hold on to it for when the camera is rolling? Or should I just stay quiet and focussed on what Colbert wants and bloody let everyone around me do their own work!!! All of these ideas flow around the room from imagination to imagination in an electric collectivity that can be magic. Every bit of it can be useful to bring the scene to life. And, yes. Laughter helps. But timing is everything.
Which brings me to the crew. When I wrapped on this season, as per tradition, everyone gathers to give the departing actor a round of applause. I gave a little speech and thanked the crew for their heart, their humour, their hard work, their courage, and their love. They gave all of us more inspiration than they will ever know. Honestly, they are absolute proof that joy unites and abolishes all cares and fatigue. What a privilege to have worked along side all of them these past three seasons.
Everyone's waiting for news about a possible fourth season, but for now looking back over the three seasons what are the most surprising and rewarding things you experienced on Versailles?
For me, the real reward is always in the doing. I love this art-form the most when I get to briefly grasp stewardship of the work and step out on stage, or when "Action" is given, and I get to ignite a real live human being relating to other real live human beings in a heightened, en-lightened situation that is captured on film and may hopefully resonate for an audience in some way.
What's continually surprising to me is that an unbearably shy person from Ottawa who as a child used to sit alone in an empty house after coming home from school, half-way up and half-way down the basement stairs with the lights off, belting out "Sing Hallelujah! Come On Get Happy!" with Judy Garland (OMG! How cliche!!!) actually gets to do this for a living.
Thank you so much, Steve, we are looking forward to seeing Colbert's journey in Versailles season 3!
Thanks, Nicole. And thanks to all!
Related: More interviews with the "Versailles" stars
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