He arrives late, smiling, half-apologizing. Still a little groggy, but very present. We're here to talk about cinema, of course. And about family, inheritance, comedy, and above all, freedom.
How did you get into filmmaking?
I come from a film family, that's for sure. My parents met in drama school. My mother was an actress. So I was immersed in it from a very young age. And when she couldn't look after me, I'd hang around backstage while she was performing. My father worked in the restaurant industry. My brother, my cousins, and I would make little films during the holidays, silly stuff, like... The Chanois curseIt's always been there.
Is your brother also an actor?
Not at all. He's in medicine now, he changed careers. But we've always done things together. He was more interested in making things happen.
And you ?
I was the class clown. A bad student, overweight… So, naturally, I was funny. It was my social survival. I was "the funny guy," you know. And then, one day, it hit me, I thought I could maybe make a career out of it. When my mother passed away, I figured I could carry on the tradition, in my own way.
Have you never had the "son of" complex?
A little. Not a blockage, but let's say it prevented me from feeling free at the beginning. I wasn't saying to myself at 14, "I want to be an actor." But it was there, latent.
And the humor, was that obvious?
Yeah. I grew up watching American comedies. The Coen brothers, Judd Apatow, Steve Carell, Jim Carrey… The MaskYou see. Very physical, very visual. In France, we don't really have that equivalent. Maybe Louis de Funès. A monster. But today, he might be considered a "corny" guy, whereas he's a genius.
You say you're a snob. Can you elaborate?
I'm demanding, let's say. I need to believe in what I do. I've worked on projects I didn't want to be involved in before, and I was unhappy on set. Now I know I wouldn't do it again.
Would you make a big movie just for the money?
Not anymore. Or at least the script has to really appeal to me. I've done enough projects just to make ends meet. Now, I want to be proud of what I'm filming.
Do you believe in early films?
Absolutely. Even a guy who's never done anything, if the person has a great script, I'm all in. There's something really powerful about sensing that a director is going to reveal a whole new world. It's kind of like the "casting director syndrome": you want to discover someone before everyone else.
Do you think money kills creativity?
Not always. Look at Tarantino. But it's often the people around you that change everything. The more money you have, the more people you have around you, and the more your vision can become diluted. And then, when you have too many resources, you sometimes forget what's essential. Me, I like constraints; shoots on the fly, with limited resources, where you have to stay true to yourself.
Do you feel protected on set?
Yes, absolutely. We're pampered. Sometimes too much. There's a patronizing aspect to it: you go to the bathroom, and an assistant follows you. They keep a close eye on you, as if we were all potential fugitives. It's absurd, but it's also reassuring.
Have you seen Cédric Kahn's Making Of?
Yeah, I loved it. It shows everything you never see, all the behind-the-scenes struggles. Right up to the point where you have to tell the actors, "There's no more money." I experienced a shoot like that. The film will never be released. Everything went haywire.
Are you at peace today?
Yes. Well… I know what I want to do. It took me ten years to make a living from film, and it's only now that it's starting to work out. But I'm ready. I'd rather struggle a little longer than betray my principles.
Your worst experience?
It was when I was starting out, I wasn't working. I had one line of dialogue in a single take, and I messed it up. The director tore me apart in front of everyone. He cut my line. I ended up doing extra work, even though I'd been telling everyone for months that I was going to be in this film. I went home, I cried. And I decided that it would never happen again. I worked twice as hard.
And your best experience?
InterRailMy first leading role. Filming in seven countries, on trains, with friends. I was 18. It was magical. But it was a poisoned gift: I thought all film shoots would be like that… but no.
How did you get involved in Cédric Klapisch's film?
It started five years ago. Cédric was directing a Cartier commercial—he'd done several, and now he was working on a new one. I auditioned for it, it went well, and I got the part. And so, I ended up going to Portugal. Honestly, it was such a cool experience: a group of models, men and women, all expenses paid, shooting a Cartier commercial with Cédric Klapisch, jewelry, glamour, you know? In the end, the commercial was never released—I think it wasn't well received—but at least I met Cédric. And we got along really well.
I spent four days talking with him. I remember him saying, "Damn, you really remind me of François Civil, who we worked with." I told him, "Listen, if you ever need his little brother or anything, just give me a call." And then the months, the years went by. He made his series. Greek saladHe asked me to make a fake audition video for him to insert into a scene, with Romain Duris and everything. So we stayed in touch.
And one day, he was preparing his new film, and he thought of me. Because he's a very loyal person, with a real vision. We clicked. He thought, "Damn, I like Abraham's energy." And then one evening, I was at some friends' place, watching a movie, when my phone rang: Cédric Klapisch. I was like, "Oh shit… Sorry, guys, I have to take it." He said, "Hey, how are you? Listen, I wanted to offer you a screen test for one of the main roles. Would you be available on such and such a day?" And that was it. He trusted me. I can't thank him enough. Because honestly, you don't make a film about me. Even today, I'm still "nobody," so back then, even less so. But he had that trust.
When the director has you in mind from the start, does that change anything in your relationship to the role?
Yeah, it's a bit of a change. So, he didn't write the role for me, you know. And he saw other people at the audition. But I think he secretly hoped it would work with me. And in the end, it did. And then I did my part, I showed up, I acted well, I worked hard. He thought, "Okay, he's the one."
But you know what? I prefer going to auditions to being offered a role. Even if I am offered a role, I still want a rehearsal. Otherwise, you're insecure. You wonder, "Can I do it?" Whereas if we work together, if the director tells me, "I'm convinced you can do it," then I feel confident.
You say you're ready to give everything for a good director. What limits do you set?
Before Cédric, I was more of the "I'm ready to be mistreated to get my emotions out" school of thought. But with him, I learned that you can work with kindness and go just as far.
After that, I'm willing to get my fingers burned a little for a film. Like Heath Ledger in The Dark KnightYou see. But that's you and yourself. Not the director pushing you. You can tell me, "It's not working. Start again." No problem. I'll suggest something else. But if you tell me, "You're rubbish," then no. That's your ego talking. Not your standards.
And what are you working on right now?
Lots of things. First of all, Star Wars – Andor Season 2. I play a rebel, with a small group of French people. It's really a "French Resistance" vibe, as seen through American eyes. I killed a robot, I saved Cassian. It's cool. Then there's Young Millionaires, the new series by Igor Gotesman (Five, Family Business), which will be released on Netflix on August 13th. I also filmed SeasonsAn Arte/HBO series, written by Nicolas Maury. A very auteur-driven, very emotional piece. There, I can show that I can cry too. And then, a small role in a film by Alexandre Steiger. And now, in August, we're shooting a series with Paul Mirabel for Amazon. It's going to be fun.
Thanks for all that. Do you at least have a vacation?
It's a close call! But yeah, I'm going to try to get away for a bit before school starts again.
ACTOR: Abraham Wapler
PHOTOGRAPHER: François Berthier
DA / STYLING: Flora di Carlo
HAIR ARTIST: Léonie Chipier
MAKEUP ARTIST: Anastasia Roges
PRODUCTION ASSISTANTS: Tanja Aksentijevic & Arianna Tonon
AGENT: Julia Bossard Agency
CONTACT LOCATION: Hôtel Balzac Paris & Spa Ikoï
CLOTHING CREDITS: Full Looks: Dior – Jewelry: Fred
