Lea Seydoux stated she doesn’t all the time perceive what a director desires.
“Sometimes I struggle a bit more. I don’t exactly know the subject, maybe I’m wrong. Maybe I didn’t get it. And I’ve had moments where I had scenes I didn’t understand while I was filming them.”
One of these experiences was on the James Bond film, No Time To Die, particularly the scenes on the finish within the unique backyard when the superspy hero was tussling with the villain whereas Seydoux’s character, Madeleine Swann, was put in peril.
“[That was a scene] where I really struggled. I didn’t understand. And the director was a bit angry with me because he thought it was clear.”
But these misunderstandings by no means occurred within the course of of creating the French actor’s newest movie, One Fine Morning (in French, Un Beau Matin), written and directed by famend filmmaker Mia Hansen-Love.
“I read the script, and in my mind, I saw the film.”
Seydoux and Hansen-Love was in lock step on the author and director’s tender movie a couple of girl named Sandra, who’s juggling her job, her daughter, her father’s failing well being and a brand new, illicit romance.
Hansen-Love drew from her personal experiences when her dad was identified with a neurodegenerative sickness, and that lived-in high quality grounds One Fine Morning in pathos but additionally pleasure.
Hansen-Love stated she felt she and Seydoux shares a sort of melancholy. She stated, “There is a sadness about her that moves me a lot, because that sadness seems never acted, and that’s something I find very special about her.
“She has an innocence about her presence on screen and how she acts. When I filmed her later, I sometimes I had the feeling of filming an unprofessional actor. Her choices are very intuitive, she doesn’t intellectualise her character, she’s just being them when she’s there.”
There is a reciprocal knowingness within the working relationship between Hansen-Love and Seydoux. The actor stated they barely even needed to speak in regards to the character or the movie an excessive amount of, it was “tacit”.
“I had a certain feeling about the film,” Seydoux stated. “I tried to embody the character. I didn’t have a preconceived idea of what I was going to do. It was more like I felt the depth of it, and also because it’s [Hansen-Love’s] story and about her father, so she told me a bit about him, and I felt immediately I knew the film she wanted to do.”
Both artists praised one another for the way pure and delicate one another’s method was.
Seydoux stated she felt the “extra responsibility” of enjoying a personality that was partially based mostly on Hansen-Love’s experiences. “Because I know she’s been through all those emotions. I wanted to be faithful to her feelings and her emotions.”
Hansen-Love acknowledged that each one of her movies have connections to her life – some components are apparent, some are much less so.
“But you can always find character that you could say are inspired by people who I’ve known or who are still part of my life. But always people I love, I never depict or make films with the memories of people I don’t like.
“I’m trying to be faithful to my experience of life. It’s doesn’t mean that it’s a documentary, it’s another way of finding the truth. You can use some elements of realities and some facts, but then for some reason, you can find other ways or shortcuts to reach that truth.
“Telling a story, making a film is always a reinvention of reality, it’s not like there is one single reality. If you’re going to tell a story in one hour and 50 minutes, it means you have to choose what you’re showing, what you’re not showing.
“Even if we call it realism, realism is totally fiction. Because it’s always reinvention. It has to do with our perspective on life.”
A prolific expertise, Hansen-Love has made eight movies since her function debut in 2007 and he or she admitted to being exhausted after so many works in a row, which have included Bergman Island, Maya and Father of My Children.
She stated she doesn’t really feel she is ready to begin writing one other venture with an autobiographical component, she’s searching for one thing totally different to rejuvenate her artistic power.
“I need to approach cinema a little bit differently because I’ve given so much of my life in my films, sometimes in a very direct way, and that makes me feel exhausted.
“I need to reinvent myself somehow. Especially after a film that is so close to my life about my father and about grief, I need to move to another place, another way in cinema.”
Her ongoing ambition is to make sure she retains her religion within the artwork type, which she fears is dying.
“Less and less people go to the theatres and there’s a feeling that sometimes people are less and less interested in cinema.
“I hope I’m wrong and this is not the reality, but I’m worried that I may lose faith in myself as a director and in cinema in general. So, my only real desire, the only thing I deeply wish, is to keep this thing in me alive.”
One Fine Morning is in cinemas now
The author travelled to Paris as a visitor of Unifrance
Source: www.news.com.au
