I think this young man who I put in a tilted position, he also looked a little like San Sebastian. So actually, at the opera, I only used 26 people. I wrote it precisely and uniquely for Naomi Campbell. Passion was expressed often [by lovers] through blood pacts, and I tried to read into that. As a general rule, I hate when my actors like each other. I saw the Marquise de Flers as almost a stand-in for you. Her character is a kind of rupturing force. That heightening of sense and perceptions was very crucial to this period in 19th-century writing, too. It requires cinematographic thinking and reflection.
Love was what gave life its flavor. Incredibly well, and incredibly badly. And I love San Sebastian. At the same time, she hates people who are afraid of her. Other musings may be found at The Hands of Bresson. As a general rule, I hate when my actors like each other. The aristocrats, especially in the Laclos works, display massive panache in their affairs: Yet the film ends on an indefinite, almost a sour note, rather than with a liberating flourish. And the epilogue is exactly the same as the book. Honor was still a reason to die for. Everybody who has more money than I do can fill an opera house, a church. Ryno explains that he always comes back to Vellini through their blood pact, but I think it was sexual attraction. That heightening of sense and perceptions was very crucial to this period in 19th-century writing, too. Can you tell me something about your next feature, Bad Love, with Naomi Campbell? This film was going into production when you had your stroke. We took it from there. I talked for about half an hour. I wonder how much of that tradition, especially the mix of sacred and profane, you wanted to draw on in order to tell this story? She came to see me, she wanted to work with me. You need a lot more time to dress each actor, so you have to have one wardrobe mistress for each character. Did you work with the actors to sustain the tension between Vellini and Ryno? Same as any other kind of film. And only if they went to see my producer and we started to talk about it. First of all, they hated each other. The only person I could ever consider for that was Claire Denis. I shot two churches — I told my production man that I needed two.
Video about the last mistress sex scene:
The Last Mistress
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