Slashfilm记者Lex Briscuso采访演员阿黛尔、导演蕾雅·梅西斯、共同编剧保罗·圭哈姆。
关于电影的主题、片名的意义、演员的选择、表演的感受、对观众的期望。
原文链接：Slashfilm
截取部分问题，以下是采访原文：
Lex Briscuso: How was this story born from within you? What influenced you or inspired you? It's a very unique story yet it plays with a lot of really universal themes.
蕾雅·梅西斯: The idea came from a personal interest. You know, I've always been very interested in smells and aromas and scents since I was a child. I used to play with my twin sister and we [would] concoct different potions and try to make up cigarettes with flowers that we picked up in the grass and in the wilderness. It's an interest that I've been cultivating up to now. I like to guess the elements that make up a perfume on someone, or the smells that I smell in the street. But, I did not want to set a film in the perfumery industry.
I wanted it to be a more primal, primitive story, more central and sensory oriented.
So I had this idea of having this little girl with these unusual powers, and
the character was much influenced by the fact that I was reading a lot of American literature at the time, James Baldwin, Jim Harrison, and Maya Angelou. In those novels, the fact that the characters and the places become legends and they deal with universal themes is what really inspired me. So, I wanted this little child to wonder where she's coming from, and to wonder the extent of her mother's love, a mother who somehow is hiding a secret, and she knows that she's hiding a secret. She's trying to do all she can in order to disclose [her mother's] past.
Lex Briscuso: 'The Five Devils' being the name of the sports center, and even the lake, is incredibly clever, especially because it ties into the five leads of the film.
Why did you settle on this title? And were there ever any other titles that you considered?
蕾雅·梅西斯: I don't know how we thought about it. I later realized that it's five characters, actually. It's another element that reminds us of the figure. I like those kinds of titles, though. When I was looking for them, I thought about [Ingmar Bergman's] "The Seven Seal," for instance. I like titles that are made of numbers and words that somehow make us think about legendary things.
Lex Briscuso: What made you want to open the film with that image of Adèle [as Joanne]? It's incredibly powerful and it sucks you right into the film. It also plays into the theme of the gaze, which I feel is so prevalent in this film. Everyone is just staring at each other down a lot of the time.
蕾雅·梅西斯: It was the first image that I had in mind when I started writing. This young woman turning in front of the fire and yelling. I was [starting from] [starting from] this specific image [through which] I developed the screenplay. And then I read a novel by a French thinker and intellectual that's called "The Sexual Night." It's Pascal Quignard. He talks about the invisible scenes, the scene that all children dream of being able to watch. And they cannot, because it's something that precedes their birth and so they can never see it. But it's a scene that is very violent. It's the symbol of total chaos with fire and massacre and a lot of violence.
Of course, it's the scene that cannot be seen because [it's] the scene of the intercourse that allowed the child to be conceived and the child is not entitled to see it. But it's that kind of primal and primitive image that I thought of. I thought it was a good way of starting the film. It sets us immediately [into] the main theme of the film, about the quest for the mother and what she's hiding. And it allowed us to be with that image throughout the film. [When] we meet Joanne in the swimming pool and we see her eyes and her gaze, we know that we have seen that scene originally. So it accompanies us.
Lex Briscuso: What do you both want the audience to take away from the ending of this film?
蕾雅·梅西斯: What I like the audience to feel is that when they walk out of the theater,
[they feel] that they experienced a very strong, even funny moment with strong emotions. But then I would love them [in] a few hours to ponder, to go back on it and have other emotion surfacing and meditations and thoughts for thoughts.
阿黛尔: What I like in this movie, and that's what I love in [Lea's first feature] "Ava," is that it's playful. Like you participated. It's more something growing up inside you after. I would be excited that people might think through stuff. But to be honest, it's the fact that you can take a direction in your life. And sometimes we don't ask ourselves, "But what if [I do] this?" Secondly, it's a movie where I'm going out and I'm asking myself questions, but not just like, "Who is this girl?"
The most important [thing for people to take away] is just keep working and asking questions.
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