Interview with Francoise Pascal [En+Fr] 2018, Père Lachaise Cemetery

This is an interview with Francoise Pascal — the star of one of the best Jean Rollin's films —  The Iron Rose (La rose de fer) (1973) and many other films, television, and theater.

It was recorded on video by Christian Valor from Psychovision with the help of Daniel Gouyette, a director, cinematographer and editor who used to work with Jean Rollin, and photographer Pierre Bertin (who is also a great Jean Rollin fan) in April 2018 at Père Lachaise Cemetery, where Jean Rollin rests.

Francoise and the guys talked in French. So I decided to make the interview available to English-speaking fans as well.

Below you see the original video with English subtitles (to be added to the video soon — Christian is still tweaking it) created by me and edited by Christian, and then comes the text version with pictures and other additional items.

Video

Embedded from the official YouTube channel of Psychovision.

English Translation

So, we are at Père Lachaise Cemetery. Francoise Pascal, does it remind you of another cemetery?

Oh yes, it reminds me of the cemetery of Amiens, where we filmed 'The Iron Rose'. With Hugues Quester. We were filming from 6 o'clock in the evening until 5 o'clock in the morning… That I was so scared at midnight. Jean-Jacques Renon who was my cinematographer, who was there, kept telling me: "No, you are with me, you'll see, nobody will do you harm." So I was very... very… Well... Being in a cemetery today… It's something different.

Moreover, this is the cemetery where Jean Rollin rests.

Yes, where Jean rests. That's true. But really, he loved cemeteries a lot. I remember how I told him: "I'm afraid" at midnight, and he said: "Yes, all the dead are coming to see you." I said: "Thank you!" [Laughs]

You have said that Hugues Quester was unbearable during the filming.

He was... He was unbearable, but... because I don't think that he believed that much in this film. The film wasn't really something that he wanted to do. He didn't have the heart for it. This was the difference between him and me. As for me, I had the heart for it, because I wanted to make this film, my film. The film in which I had the main role. But Hugues, he would say: "Well, I'm here, I'm here..." And he didn't get along well with Jean Rollin either.

I heard that by the end, Rollin wouldn't even talk to him.

Yes. It's true. Everytime Rollin wanted to do... to say something, he would tell me: "Here's what I want you to do. Go and tell him [Hugues] what we are going to do!"

What was Jean like during the filming, in comparison to other directors you had known before?

Jean was wonderful to work with. Because he was always willing to listen to me. We would always talk, I would give him ideas, and he'd give me ideas as well. So he was really wonderful to work with.

Are there any particular scenes in this film that left a mark on you, that you remember?

Yes. What kind of mark? On my body? [Laughs]

Any kind...

When I was... I don't know how to say in French "crawl"...

"Ramper" — to crawl on the ground.

Yes, when I was on the ground, and I was crawling towards the pit with the bones and all… And my knees hurt, and I also had bruises everywhere. And when Hugues and I were making love next to the bones... Those were real bones, I believe. I don't know… This hurt me! It was really not very comfortable. And I was thinking: "My God, I'm making love with someone, among the bones of dead people!" It was really... As a Catholic, this wasn't really something that I would like to do. [Laughs]

There is a famous shot with the skull you are raising.

With the skull, yes. The skull was... It was real, yes. He made me do this scene five or six times. Because he wanted to have this look. In the eyes that were a little insane. A bit deranged.

Source of the gif: Tumblr of Kick Down the Walls

On this matter, you said you had studied insanity, mental illnesses for this role...

Yes, I visited institutes in England... At Embeth. In London. An institute where they had insane people. And I studied many people… In fact, I was very lucky to be able to go there and see them. It was for a charity, so I thought "OK... Since I'm here, I might as well observe them, study them for this role."

 

 

For the fans of the film The Iron Rose, I made this T-shirt design. T-shirts (and many other clothing types) with this design printed on them are available at my online B-movie T-shirt shop.

On a lighter note, you celebrated your birthday during the filming, didn't you?

Yes, yes, at the hotel. Yes, it's true. I have photos that were given to me by Mr Daniel Gouyette. And it was really incredible to see this. A real little girl! And I was really very-very happy in this movie. Very happy.

Nevertheless , this film was the biggest commercial failure of Jean Rollin. When you saw it, did you like it? And do you still like it today?

I always liked this film. Always. But it wasn't really a big commercial film. Because when this film was released, the fans of Jean wanted to see the same kind of things. Like vampires that he used to do. Naked vampires and things like that. But it was a little more artistic film, more psychological. That was something Jean really wanted to do.

And he also wrote a little book that was called 'The Night of the Cemetery'. So it was really based on this little story that he had written.

You said that you regretted that you hadn't seen him before his death. But did you stay in touch with him?

I hadn't stayed in touch with him until before his death. When I learned where he was. So I took his telephone number. I called him and I said: "I wrote a book, and I wrote about you. Are you coming to London? I was told you were coming to London to sign your book and photos at some festival of fantasy films." And I was going to meet him. And, unfortunately, he died. But it was the first time that I talked to him on the telephone. First time in a very long time. Since seventy... Since when... When I left Paris... 73... Yes, 73. I haven't seen him since.

And Amiens? The cemetery...

I've never returned. You know, I haven't been to Paris since 1989.

Really?

This is my first time today. In 2018. [Laughs]

So I suppose that you haven't returned to the beach of Pourville, the famous pebble beach, either?

No, no.

You said that there were pebbles that hurt your feet.

I had cuts on my feet. It was really funny. [Laughs]

I have a little present, it's one of the pebbles that I gathered in Pourville.

Thank you! It's nice of you!

They are typical [to that location], because they have holes in them.

Oh, it's wonderful. Thank you very much. Look. Look [Shows the pebbles into the camera].

Let's return to the beginning, then!

Yes, sure.

So, you were born on Mauritius Island, your parents are French, but you were raised in France and in London.

My parents are French Mauritians.

What's your nationality today?

My nationality is British because I live in London, I was married to an Englishman, I have a child in England… I have grandchildren now. Two grandchildren. So yes, my nationality is British. And as for Mauritius Island, I was growing up there until 12 years old, and when I was 12 we left. We first went to France, then we went to England. My father was very ill, he had emphysema. He wanted to see a doctor here, and then he also saw a doctor in England. And I also studied here, in Paris.

Are you still attached to Mauritius Island? I saw on the Internet a poster saying "The first Mauritian who got international recognition".

Yes, it's true!

They are proud of you then!

There are people who are proud of me, but the government isn't proud. Because it doesn't know and doesn't care. The government has never invited me to say: "Here is the first Mauritian who played the roles that were in newspapers, and that made her..." How to say it in French...

Famous?

Yes, famous. Thanks. There are people who are really very-very proud, and there are others who... It's always like that, isn't it? Like Rollin. France isn't really very proud of Rollin. And why? For what reason?

Absolutely.

I find this… Because I think Rollin was a man who had a great visual... Do we say it like this in French? Visual?

Yes, visual sense.

Incredible visual sense. Really artistic. Well, a little... avant-garde, a bit... I don't know how you would say it. But it was a man who had a great artistic visual sense.

So, let's move back to London, to the 60's where you experienced the "swinging 60's". Could you tell us about this period and, for example, Top of the Pops?

I started with Top of the Pops. Frazer Hines, who was in Doctor Who, who was the one with the kilt, I met him with Susan George. And that's when we became fellows, and it's Susan and Frazer who had me hire an agent. And that's how I started Top of the Pops. I was dancing there, among all the people, but the producer saw me and thought "Ah, that girl knows how to dance.", so he put me on that pedestal.

Are there personalities, bands that you met at that period? You were in Jean-Luc Godard's '1+1' with The Rolling Stones, for example!

Ah. The Rolling Stones. Yes... The second film that I've made. It was with Jean-Luc Godard… and the producer Iain Quarrier who chose me to play a small role. And this small role was a role of a virgin. A virgin who was… who was killed by... [looking for the right word in French] Fighters... Movement fighters.

Activists?

Activists who killed the virgins. So I was there, among the virgins. It was the first film, in which I didn't do or say anything.

And as for Jean-Luc Godard, do you have good memories from the filming with him?

He was amusing. He was really funny. Because what he did was writing his script during the filming. He'd write what came to his mind. But what's this? Everyone had to stop because he would say: "Ah, we're stopping, I have ideas". And he would write down his ideas, then return to the filming, and give this to the actress, what she had to say. Just like that. "Go ahead, read it". He was really funny. A little funny. But it’s wonderful to have filmed with him, isn’t it?

So, you started in the cinema, strictly speaking, with 'Loving Feeling' by Norman J. Warren? It was a sexy comedy, I believe?

Yes.

How did the beginning go?

I was scared, because I was only 17 years old, It was required that my mother sign the contract. And she hadn't read that I would have to be half-nude or nude in the film. So, when I was on the set, they told me: "Take off your... You're going to be nude now". I said "No, no, no, I don't want to!" I was scared. So the producer took me to a pub. Do you know what a pub is, in England?

Of course.

He gave me three or four cognacs. Then I went back to the set and said: "Alright, I'm all yours!" And that's how I did it.

Goodness!

Norman J. Warren is known for his horror films like 'Inseminoid', for example.

Yes.

Right after, you played for Pete Walker who has also made many horror films.

Oh, no-no-no. I'm not talking about Pete "Porker" and I'm not talking about this film [For Men Only/School for Sex (1969)], because I hate this film and I hate Pete "Porker". [Laughs] And everybody knows this.

Alright.

The first director I can't stand.

You also had a small role in 'Incense for the Damned' by Robert Hartford-Davis.

Yes! Robert Hartford-Davis.

And a bit later in 'Burke & Hare' by Vernon Sewell. So, many fantasy films by the directors who filmed fantasy films.

Yes, yes.

Was it a genre that attracted you in general or not at all, it was by chance?

I was attracted by the roles, not really by the film genre. I was attracted by the roles, like 'The Iron Rose', like 'Burke & Hare'... Those were really roles that are, as you are saying, in fantasy films. They saw me, they chose me... Why would I say "no"? I really didn't think. Those are the roles I really wanted to play. I really didn't think about this.

So, the same goes for sexy comedies? Because there is also 'Keep It Up Downstairs'? And another one that's called 'French Undressing'? It's a French film?

Yes! Yes! But it's a French film that I've never seen. I really don't know what it is.

Do you have memories from this filming? Because there were French actresses like Joëlle Coeur who has played for Jean Rollin three times. Do you have memories about this film?

No... No. I really don't remember this film, and I remember little about the director who was Jacques Besnard, right?

Jacques Besnard, yes.

He was a director who made very good films. But I don't know about this one. I have no idea. Was it bad?

There was a lot of nudity in this film.

Oh my... If I had known, I wouldn't have put my name on it.

I will give you a copy. [Laughs]

Oh!

What was your attitude to nudity? Were you reluctant?

I wasn't really... Nudity was something that I didn't really want to do. I didn't want to be known for this. Because I had learned a lot. After all, I went to Webb Douglas... I had learned my profession. And I wanted to do things that were really very-very artistic.

And, by the way, when Rollin offered me this film, it was a role that I really wanted to do, because I was also offered a role in 'Skallawag' with Kirk Douglas. And I said: "No, sorry". I was really flattered for having been asked by Kirk Douglas to play a role with him. But I preferred to do the film of Rollin, because the film of Rollin was my film. It was the role that I wanted to do. And I was right.

Of course!

Peter Sellers. You made two films with him: 'There's a Girl in My Soup' and 'Soft Beds, Hard Battles' that's called in French 'Get on board, Simone'.

'Get on board, Simone'???

I believe you have much admiration and affection for Peter Sellers?

Yes, I adore Peter. He was my friend. It was him who taught me a lot about comedy. And it's because of him I did a comedy after. A series on the English television. He taught me really a lot. He was my friend. A very good friend. And I miss him.

In these two films you acted alongside Goldie Hawn and Curd Jürgens. Did you become familiar with them?

Yes, I was familiar with Jürgens. Curd was my friend. We were still in contact when he'd come to London to make films… And then he disappeared. I believe he was very ill and couldn't travel.

And it was the same thing with Telly Savalas. Telly Savalas was one of my best friends. And it was him who gave me a basket for my baby when I was pregnant. And he became ill too, and he couldn't...

You know, there are people who disappear from your life. The more you get old, the more people disappear. It's really very-very sad.

Raquel Welch in 'Beloved'...

'The Beloved' with Richard Johnson who was my...

I was about to talk about him. Was it your first meeting with Richard Johnson?

No-no-no, I had known Richard since I was 19 years old. And I lived with him until I was 30. And for Raquel, this was the first time I met her. I had long hair, and sometimes they thought I looked like Raquel, in Italy. When I was in Rome, and Raquel didn't want to be with paparazzi, she would send me to be in front of the paparazzi, because I looked like her. She would put all kinds of things on me to be seen by the paparazzi. She was wonderful. I loved Raquel a lot. I have a lot of respect for her.

You said that your relationship with Richard Johnson was pretty tumultuous.

Aha, aha. Very. He liked women.

Alright, I see, I've understood.

And I have nothing more to say.

Alright. But he had an incredible career. Shakespeare, 'Zombie 2: The Dead Are Among Us', 'Island of the Fishmen', 'Space: 1999'...

You've done your homework! Well, he continued. He did many films in Italy. And also he continued to play Shakespeare. And when he got a little older, he made a tour in America playing Shakespeare and everything…

So he did very well. And we had been friends, until I wrote the book. When I wrote the book, this was when I became no longer his friend, after that. But with Richard, we have a son together. And two grandchildren too. And he's seen his grandchildren before his death. This is the thing that's really the most important.

Some other aspects of your career: you've also done numerous TV series like 'Mind Your Language' that has never been broadcasted in France, unfortunately, I believe, where you are playing a French girl.

Yes.

Telefilms, also theater, and posing for Penthouse, for example, and singing too.

Yes, I made three songs. Three singles.

It's a little bit in the disco style.

Disco. 'Woman in Love'. That was very disco. I don't remember anymore what else I did, how the disc...

'When It Comes to Love'?

Yes. 'When It Comes to Love'.

'I Can't Get Enough'.

'When It Comes to Love' was the A side, and 'I Can't Get Enough' was the B side. So we'd always say "When it comes to love, I can't get enough". [Laughs]

'Woman Is Free'.

'Woman Is Free'. Right. Yes.

And as for Penthouse, those were good memories, you said, I believe.

1970, I was in Israel. Wonderful memories. A photographer whose name was Amnon Bar-Tur, who was Israeli. An incredible photographer! If you have a chance to see that Penthouse issue... It was marvellous. It was 1970, and it was the first Penthouse that was issued in America. And many Americans say "I adore you in Penthouse". They still write to me and I go: "Right... OK!"

So, of all these activities, do you have one that is your favourite? Do you make a distinction between them or do you see it as a whole? The career of a complete artist?

I think it's a career of an artist... I'm not complete, no. I'm not complete. Not at all. Because, I haven't done things... Sometimes I'm looking through my résumé and I say to myself: "Well, really, you haven't done anything wonderful". Except for 'The Iron Rose'.

Also, when I was in America, I played in Shakespeare's plays. 'As You Like It'. I played Rosalind. And 'Twelfth Night' — I played Olivia. And I played Octavia in 'Antony and Cleopatra'. And I really wanted to play Shakespeare in England. But the English are very big snobs about Shakespeare. They don't like when a French, or anyone who is foreign, plays Shakespeare. As for the Americans, they say "Wonderful!". I had an accolade for Olivia. I also got a Los Angeles Times award for the best performance in the Shakespeare's play, as Olivia. As you see, The United States were very-very gentle with me. And the English aren't gentle.

I've seen that these days you also do radio shows, you work with charities...

I used to do radio shows, I no longer do, because today I'm also a film producer. I have a film that I'm developing a plan for right now. I'm at the beginning now. I haven't yet gathered enough money. So I need to gather more… And the scenario isn't finished yet. It's the fourth time when we're hiring a writer for this scenario. So let's hope that this time the scenario works out well. In the end of April we'll see.

Anything else? Would you like to leave a message for the French?

For the French? Ah, I adore you, French people. You are really very wonderful. Let's hope that one day I return to make a film here, in France. To produce a film in France. With French artists. With a French director. [Smiles]

We're hoping, sure.

Sure, yes. Let's hope. Let's see how this film goes. And if it's a great success, it will be wonderful. I will be at the Cannes [laughs]. With my film. Ah, that would be incredible. We'll see. It's a dream, it's a dream. At the moment, it's a dream. It's a dream that I have and it's a dream that is going to come true. It's all that I can say. It's a dream.

Fine. Thank you very much!

Thank you, Christian, thank you. Thank you, Pierre. And thank you, Daniel.

Resources to Learn More About Francoise Pascal

• Official site
• Facebook fanpage
• The website of the film Francoise is producing

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