vastscout.blogg.se

1. Julia ducournau servant movie#
2. Julia ducournau servant plus#

It’s the same way that Vincent looks at Adrien, layers after layers, he starts seeing the person behind the fantasy.

Julia ducournau servant movie#

I wanted a movie that sheds its layers one after the other. I wanted an energy and a very optimistic ending, I started with the ending and I worked my way back to the beginning. Very early on in the writing, I stopped thinking about first act, second act, climax. But also because of the first meaning of the word - it is queer, it’s bizarre. How do you feel about “Titane” being called a great queer film?Ībsolutely, it’s about blurring the lines. The metal in her head makes her dead inside, so I wanted to intertwine all these thoughts between humans and dead metal and reverse the way they react. I tried to film the pipes like they were intestines and trying to make them organic with the liquid like black oil. In the beginning, the journey through the engine is the journey through the character. I wanted to try to make it something alive. Metal is cold, heavy, dead, it doesn’t react to our eyes. Both of your features start with car crashes – what’s your connection to these images of metal and pipes? I try to make them intertwined in a way that my film is its own wild animal. I use the grammar of horror and drama and sci-fi. I’m trying to make this experience about what it is to be human, and to mix all these typologies of film. That’s actually something that I’m seeking. I think both my features are hard to label. Some of the reactions are really something I had not predicted, like the fainting. I hope people are in for the ride and watch it to the end and debate, that is what art is for, to create new debate and new questions. Did you expect the kinds of extreme reactions some viewers have had? 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?

Julia ducournau servant plus#

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.