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Gaspar Noé and Cast Discuss Making ‘Love,’ the Use of 3D, and More at Cannes

Written by on May 22, 2015 

Director Gaspar Noe, cast members Aomi Muyock, Karl Glusman and Klara Kristin pose during a photocall for the film "Love" out of competition at the 68th Cannes Film Festival in Cannes

The newest film from the Argentinian-born French director Gaspar Noé, the 3D melodrama Lovepremiered at the 2015 Cannes Film Festival to quite a divisive response. Following a love story involving three individuals, it was thought to garner attention for its explicit sex scenes in the film, but we said in our review it “doesn’t say nor show anything new.”

Regardless of what audiences think of it when it arrives,tThis is not the director’s first rodeo with controversy as almost every one of his films has, in some way or another, shocked certain sections. Attending the Cannes press conference for the film was producers Vincent Maraval and Edouard Weil, actors Karl Glusman, Klara Kristin and Aomi Muyock and, of course, the director. We’ve highlight the best sections and they can be seen below, following by the full press conference.

On the explicit nature of the film and presenting it in Cannes

Noe began by expressing his joy at being at the festival: “Being in Cannes is a lot of fun. I spent twenty hours a day shooting the film and the fact that it’s in Cannes scared me. I thought I better do six months worth of work in one month.” On the explicit nature of the film he began by talking about the financial reality of the “porn” label and how it differs from it, saying, “We sold the project as a mellow pornographic film and I thought it would sell like hotcakes. But Vincent told me as soon as you say pornographic people get scared. I read lots of pornographic books and watched lots of films when I was young, but the film talks about being in love, from a sexual stance.” He further explained: “And of course to represent sex it’s hard to not do a film with genitalia, with what is real, what is fake. We have seen Lars Von Trier‘s film in which things loom larger than life. There are all sorts of things in my film, things that are real, that are artificial. Basically what is riveting is what you see in the images. We wanted to make sure the love scenes and the feeling of being in love were well represented. I wanted to show feelings. I have never been raped, I have never suffered from incest like some of my characters and being in love is kind of an amazing thing to portray — this has happened to me.”


On utilizing 3D

Noe explained his reasoning behind why exactly he shot the film in 3D: “There is something childish about 3D. It’s like a game. It’s hard to beat Enter the Void in terms of filming but I thought, what is the next game that might be fun? The idea of making a film showing these very erotic scenes, that didn’t excite me; I’ve done movies that show that kind of image, but I thought, ‘what can I do that will amuse me? What new language can I find?’ I took lots of photos with 3D cameras, and standard cameras and even video cameras, which you see in the film – it cost 500 euros – and this camera produces really troubling images when you see it in 3D because it looks more real than real life. I even saw pictures of my mother using this technique and I find it difficult to look at them because they are so moving.”

On whether the film is transgressive

Noe explained that, to him, the film was not really transgressive in any way: “I don’t have the feeling there is any transgression in the film. I don’t see any transgression in terms of my life and what I love in cinema; Pasolini, Buñuel and many have gone this way. All I did was use a small 3D camera. There is nothing in the film that hasn’t been seen elsewhere. Perhaps, however, it is the way I went about it. The film was shot with a tiny little budget. We used 3D cameras and maybe the fact that it is filmed in 3D makes it look like it’s a film from Hollywood, and it’s in English to boot, like a major production. But that’s not the case: we shot it really fast and I don’t think it is a form of transgression in any way. In fact everything is very joyful.” To a certain degree, his point is valid. Considering the proliferation of sexually explicit images, the fact that it is not talked about is more a reflection on societal expectations or norms than the film being transgressive. However it is understandable why it could be perceived otherwise as explicit sex is still somehow taboo in certain markets.

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