How Claire Denis pulled off directing back-to-back movies during the pandemic
as well as your approach towards adapting Christine Angot’s novel., was finishing a [new] novel, and she wasn’t prepared to work on a new script. So she said, “Maybe you can use some page[s] of my last novel.” [And that’s what I did.] In the Christine Angot novel , the [female protagonist] speaks in first person; says “I.” I wanted to transform that because it was a very autobiographical novel for Christine.
AVC: On that note, there is a very specific way you approach eroticism in this movie. There are layers of meaning in it. First, sex is transactional, done for money. It’s also a pastime born out of boredom. And it also propels love.I always knew that both Daniel and Trish approach love in their own very different ways. She would never admit she’s attracted to him. She would be mean in a way, you know? But we had to feel, of course, that she was attracted to him.
AVC: How did you help Margaret Qualley and Joe Alwyn get in that intoxicated headspace and be bare in front of the camera, both physically and emotionally?I was bare too, you know? Because it’s the first time I was working with them as opposed to Vincent and Juliette. And I am shy too. I didn’t want a [intimacy] coordinator. We just had to trust each other. We started with the bar scene, the encounter, and then [went into] the room.
AVC: Margaret Qualley is a fiery, spirited performer. I am wondering what performance of hers made you notice her.]. I had written the script already, and thought, “This is her! This is it!” She’s a little arrogant, she doesn’t want to admit she’s suffering. She has this pride and I thought, “this is her!” I flew to New York, met with her, and she said yes. And she’s been waiting for more than three years for the film to be made.
AVC: Your cinema has such undeniable influence, particularly on several contemporary American filmmakers. I’m thinking of Barry Jenkins who is often vocal about his admiration for you. Also Eliza Hittman, and Charlotte Wells who madeI know Barry, and I’m [aware of these filmmakers], but also I’m not aware [of my influence] because it would be terrible to be aware of being influential. I approach each film as closely as I can. I try to be true. I always feel as if I am inside [my] films.
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