I knew I could show him like no one had seen him before. He’s like this big suit of armor, he wears his body like an armor, and yet he’s constantly on the verge of crumbling. In life, he’s someone who moves me because extremes are constantly co-existing in him. It’s not the way you’re used to seeing him. I wrote the part for him, though at the beginning it was unconscious - my subconscious was thinking about him. Vincent did heavy weightlifting for a year and a half. The physicality in actors is something I’m looking for - I try to express things with the image first before the words. What was your vision for Vincent Lindon - he’s been in dozens of films, but we’re not used to seeing him so physical? Since the character navigates between genders, and blurs the lines throughout the film, it felt completely normal to test both genders. I really needed someone who had an androgynous look, and someone who had an unknown face on which we couldn’t project anything else. When you don’t have many lines, the worst-case scenario would be that the person was blank.ĭid you consider both women and men for the part of Alexia?įor this particular part, gender was not relevant. In “Network,” it goes from deep anger to deep despair, in “Twin Peaks” is goes from teenage sweet to deep heartbreak and crying. To see what she could get out of herself, and get out of the consciousness that all actors have, I made her work on various monologues - Sidney Lumet’s “Network,” the “Twin Peaks” one from Laura Palmer’s grave and Villanelle in “Killing Eve,” since they had a broad spectrum of emotions. How did you guide her acting, since she didn’t have much dialogue? I wanted someone who had the energy, a look that was quite fascinating and mesmerizing right away, and she has great angles. With my director of casting, we decided to check out models’ profiles on Instagram, and we pulled them from that. I wanted the audience to only see the part and accept the part through the film. Your lead, Agathe Rousselle, had never acted - why was that important to you? We have had to restart this big machine after two years, so there are some quirks, but it makes it more human. But I told Spike Lee that it had heart it made it a lively ceremony. I thought I had misheard or he had misread. I was very confused, and a bit shocked as well. When Spike Lee announced “Titane” as Palme d’Or winner at the beginning of the ceremony, did you think you had heard right? But although moviegoers have been known to faint during Ducournau’s films, don’t call her a horror director: She works in the European tradition of visceral cineastes like Pier Paulo Pasolini and Carlos Saura - plus a nod to the body horror of David Cronenberg - and her work defies categorization.
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