Franck Dubosc was born on November 7, 1963 in Le Petit-Quevilly, Seine-Maritime, France.

He is an actor and writer, known for Rolling to You (2018), Camping (2006) and Asterix at the Olympic Games (2008). He has been married to Danièle since June 19, 2009. They have one child.

This week he can be seen in cinemas in Romania and Hungary in the comedy 10 Days Without Mum, distributed by Prorom.

What drew you in when you first read the script of 10 Days Without Mum?
Since this is a remake, I was able to see the original Argentinian film before reading the new script. It's a rare luxury to be able to see a finished product first, and get a sense of the project, then rediscover it anew as a new script for a French audience. This role of present-yet-absent father, who has many scenes with his children, was very appealing to me. Beyond the humor and the comedy, there is a sensibility, a dose of reality that I can relate to as a father in terms of how we see our kids or fail to see them.

Ludovic Bernard says he could only see you in this role. Did you feel like you had to seize this opportunity, and if so, why?
Let's just say that it corresponded perfectly to my wishes to act in films that are funny yet anchored in reality. I had seen The Climb and In Your Hands, two features directed by Ludovic, and I really wanted to work with him.

How would you describe your character, Antoine?
He represents a lot of men. He is selfish and career-driven; both usually go hand in hand. But he has blinders on. He is completely missing what's essential in his life, but in order to realize that his children are essential to his existence, he needs to see them—but he doesn't even look.

How did you shape the character?
I went with the flow. Everything was written, well written. The only difficulty was to go searching within yourself around children who are not your own and give them tenderness and love that appears credible. It's almost more indecent than a love scene with an actress who is not your wife. You keep having to tell yourself that this is just cinema, but the young ones don't really differentiate between fiction and reality.

You’re a father and must often be absent because of your roles in the theatre and on screen. What port of you did you bring to this role?
I have a profession that is extremely engaging, and I've tended to put my career before my children. My field will forget me long before they will; I know that now. To me, this film was a bit like therapy. When women don't work, men tend to tell them that they are free to do whatever they want once the kids have been dropped off at school. They don't realize the workload involved. Since the shoot, I never tell my wife that her days are easy even if she takes care of our two sons. In fact, she has seen 10 Days Without Mum and every time she tells me, "be careful, that's you in the film, that's honestly how you tend to be in real life."

What kind of notes did he give you?
He sometimes helped me simplify certain things in order to stay true to the character. We had many discussions and I trusted him completely. I didn't want him to be a customer of what I can do from a comedy standpoint. But, more and more, I'm forgetting how to be Franck Dubosc when I play in a movie.

Was it frightening to have dialogues with four children?
On the contrary. I have worked with kids a lot and I love it, because they don't cheat. The difficulty lies in being real around them, because you can't fake anything with them. Working with the youngest one was a bit more complicated. I had to win his affections, then be patient. He was the one calling the shots.

What do you think of the actresses you worked with, Aure Atiko and Alice David?
I knew Aure because we had appeared together in Traffic Peddling by Dominique Farrugia twenty years ago. I met Alice David for the first time. They are beautiful women, incredible actresses, and exceptional colleagues—what more is there to say? We collaborated with ease, with no complications. Compared to my character, they are obviously on a moral high ground. In fact, I would say that this is rightfully so, and that women will really relate to this film. And it would be good for men to question their own lives and realize that they are probably far less complicated. The role of men and fathers today is different than in prior generations. And it's for the best.

Would you say that the moral of the film is that women make men better?
I don't know if that's the takeaway of the film, but it's the truth. I would say that the moral is that one should look at what's right in front of them rather than seeking something far off. Real happiness is often right within our reach.