Yes, that ‘Irma Vep’ scene was just as layered as it was surreal.
There is a theme in your career of very boldly and very directly writing things about your own life. There are filmmakers—especially as they become more high-profile—who would maybe shy away from that.
I think I am the victim of my own inspiration. I can only make the movies that come to me. It’s like sometimes with relationships—you either are a person who makes the first step, or you are the person who expects the other to make the first step. I need for the movies to make the first step. They have to come to me in a certain way. All the movies I’ve made reflect the person I was at that moment.
Let’s talk about episode four. There’s the dream scene where René is talking to his ex-wife. They’re having this frank conversation. It feels you talking to the audience and directly addressing why Maggie is not in the show. Could you talk me through what it was like writing that scene and deciding to put it in?] I just got dragged in. I mean, I became a character in my own film and my relationship with Maggie became part of the narrative.
When I started working on the series, I felt compelled to ask her if she wanted to play the part [of Jade]…. She wasn’t into movies anymore and that has always been a frustration. Our divorce was, of course, very sad for me and very difficult, but also I missed her as an actress. I think she left filmmaking at the higher point of her career. She had great things to do. It was always a mystery why Maggie decided to drop out of filmmaking when she was one of the greatest actresses around.
It’s not something sentimental. I’ve had other lives. I’m now extremely happy with my life. It’s more like, something happened to me and the [show] brought me the opportunity to explore it. I don’t think it healed it, because movies don’t heal you. They open wounds.When I reached out to her, I didn’t even have the right email. [] We’ve been very distant for quite a while.
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