Past Lives | movie | 2023 | Official Featurette - video Dailymotion

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Two childhood friends are separated after one’s family emigrates from South Korea. Two decades later, they are reunite | dG1fOWQ0T2JrbUNKWXM

Transcript

00:00 [musique]

00:03 La histoire de "Past Lives" est sur Nora Moon.

00:07 Son nom coréen est Nayoung.

00:09 Elle est mariée et elle se reconnecte avec son amie de la vie.

00:15 Ce que nous voyons, c'est cette relation profonde qu'elle a depuis sa vie,

00:19 qui revient et qui challenge certaines de ses vues et ses conceptions

00:23 sur son identité dans son état présent.

00:25 La histoire est sur la fermeture.

00:27 [musique]

00:32 Dès le début, Céline nous a demandé de ne pas faire de contact physique,

00:36 ce qui rendait la situation plus explicite et étrange.

00:39 Je pense que cela compte pour la quantité de fois que les acteurs se posent,

00:44 un petit petit coup de main, et elle nous a dit de ne pas toucher.

00:47 [musique]

00:55 Jusqu'à ce moment où l'audience s'est sentie avec nous,

00:59 je pense que ces réactions étaient vraiment viscères.

01:03 [musique]

01:05 -Waah, c'est trop bien.

01:07 -En créant cet artifice de "maintenant, tu ne peux pas faire quelque chose",

01:13 cela rend plus de choses.

01:15 Ce moment est devenu pressurisé.

01:17 [musique]

01:20 -Waah. -Waah.

01:22 [rires]

01:25 -Alors, arrêtez le bruit, s'il vous plaît.

01:27 -C'est bon.

01:28 -Et vous n'étiez pas autorisés à vous rencontrer.

01:31 -Tôt dans les conversations avec Céline, nous avons sorti cette idée

01:35 de ne pas pouvoir rencontrer Théo et moi jusqu'à ce que nous puissions absolument.

01:40 Heureusement, nous avions une équipe qui nous a aidés à faciliter cela.

01:43 Nous avons été accueillis par des portes différentes,

01:45 nous avons eu des rencontres sur Skype où nous avons été tous en noir.

01:48 Et quand Nora et Hyesung viennent dans l'appartement et qu'Arthur le rencontre pour la première fois,

01:54 c'est nous qui nous rencontrons pour la première fois sur le film.

01:57 -Bonjour.

01:59 [musique]

02:03 -Bonjour. C'est gentil de vous rencontrer. Arthur.

02:08 -Je pense que ça marche et c'est aussi juste amusant

02:10 d'être en mesure de faire ces petits expériences en tant qu'acteurs.

02:13 -Oui. -Oui.

02:14 -Especially when you're working on 35mm film,

02:18 you know you have only a limited amount of takes.

02:21 So it kind of heightens… -Everything.

02:23 -The stakes, everything. -Yeah.

02:25 -Everyone was so concentrated and focused.

02:28 -He was just this kid in my head for such a long time.

02:31 I think I just missed him a lot.

02:33 -Did he miss you?

02:35 -It was a unique situation in that in such a short amount of time,

02:40 we had to create a marriage that was believable

02:44 and also a deeply connected childhood first love.

02:49 And the physicality of that is really specific.

02:53 The way that I had to be as Nora with Arthur

02:57 as opposed to Hae-sung is entirely different.

03:00 One of the essential ideas of this movie,

03:03 based on Céline's actual experience,

03:05 is she could feel like a completely different woman

03:08 in the presence of each of these men

03:10 who know and love her so differently

03:13 and fully and completely.

03:15 -There's a cultural component of a boundary,

03:18 a Western idea of boundary versus an Eastern idea of boundary.

03:22 I think it helps draw a stark difference

03:26 between the two relationships.

03:28 If you watch Nora and Arthur,

03:30 they kiss, in most scenes they're holding hands,

03:34 and I think for Céline, touch is very meaningful.

03:37 -What it means to see an Americanized woman

03:41 confronted with a hologram of her past as a Korean,

03:45 but now in her adult, fully realized form

03:49 and what that feels like.

03:51 We were so excited by this idea of like,

03:53 "Oh, I don't think we've seen it in that way before."

03:56 -I missed you.

03:58 -Me too.

04:01 -I let myself be inspired by the child actor Seung-min

04:06 who, when I met him, was always so shy

04:09 and he had his elbows always to his upper body,

04:13 almost like taped.

04:14 And I was like, "Oh, that's interesting.

04:16 That's some beautiful piece of body language

04:19 that I want to carry with the adult has on

04:22 because it kind of shows how repressed his emotions are."

04:26 Tony Leung, in Asia, he's known for the man

04:31 who speaks with his eyes

04:32 in moments where we are vulnerable together

04:35 but don't have any dialogue.

04:36 How deep can I go showing that inner life

04:39 only through the eyes,

04:41 which are the only parts of the nervous system

04:44 that are openly exposed to the real world

04:48 and thereby have a window to your brain

04:50 and your heart and your emotions.

04:53 -We were looking at the Marina Abramovic Lay encounter,

04:58 which involves Marina Abramovic.

05:00 She's sitting at a table

05:01 and a willing participant comes and joins her at this table

05:04 and they have this wordless exchange

05:05 just with their eyes.

05:06 That was one of the pieces of source material

05:09 that we could all agree upon

05:10 just to make sure that we were all living in the same world,

05:14 what we wanted for that first encounter,

05:16 that wordless exchange after so many years.

05:19 -The bar scene was crucial.

05:27 We took two days to shoot one scene

05:30 and arguably the movie lives and dies

05:34 on the success of the bar scene.

05:36 The genesis of that scene was a real-life experience

05:39 where Céline found herself flanked by two men,

05:43 one her husband and the other her childhood sweetheart.

05:47 And the uncanny and mysterious and profound experience

05:52 of sitting in the threshold between two men

05:55 who could know her so completely

05:57 but in totally different ways.

05:59 So we really took our time

06:01 in terms of making sure we could honor

06:04 what that experience is like.

06:06 -We had jokes that, you know, this is a love story,

06:16 but we're subverting the genre and it's almost become sci-fi

06:20 that Hyesung could present to her

06:22 as some sort of hologram of a different time,

06:25 a different life,

06:26 that she's jumping back from the present

06:28 to the past to an imagined future

06:31 depending on which way she was facing.

06:34 Yeah?

06:35 Sounds like, hmm.

06:37 That was something that we were aiming for

06:40 from the beginning,

06:41 like how to extrapolate and make monumental

06:45 what you can argue is kind of a simple scene.

06:48 -I remember for me,

06:55 wanting these escape routes.

06:58 I kept suggesting maybe I go get a drink,

07:00 maybe I excuse myself to go to the restroom.

07:02 I kept trying to leave because it was so awkward,

07:05 but Celine insisted I stay there

07:07 in the uncomfortable awkwardness of the scene.

07:10 And like Greta said, after two days of filming,

07:13 finally we get to a point where Hyesung and Arthur

07:16 are sat alone and kind of have their man-to-man talk,

07:20 if you will.

07:21 And I think that that build-up led for,

07:24 you know, a tremendous energy and a very dynamic scene.

07:27 Do you want to say anything?

07:28 -No, I have nothing to add to that.

07:30 [laughter]

07:31 -It's so awesome.

07:32 [music]

Past Lives | movie | 2023 | Official Featurette

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