00:00So how did you approach the character of Cygne, this narcissistic protagonist who destroys herself both psychologically and physically in order to feel recognized?
00:12I used a lot of time trying to understand her. I mean, I think when we watched the film and at least me, the first time I read the script, I thought it was hilarious, but I also felt really ashamed of being a modern human being or being a human being in general, wanting attention or just wanting to be seen and telling these small lies just to be a little more
00:42interesting or feeling a little more sick than I was just to get that extra hug or attention from my boyfriend.
00:49And so, but I mean, she does stuff that normal people wouldn't do and goes to those extreme lengths to get attention.
01:02And that was, it took some time to understand how that's possible or how her mind works.
01:09Yeah, but talking a lot with the director, Christopher, and doing a lot of background story for her character, I think I got there.
01:21Yeah.
01:23So this really isn't a typical monster movie with Cygne as the monster who undergrows her own staggering transformation.
01:32But what is special this time is that she chose to be this way, this kind of deformed martyr compared to the even more unbearable horror of anonymity.
01:42She's a tablet monster, but at the same time, she's also a star and she kind of embraces sickness over health.
01:49Do you think she's more sick of herself or society?
01:52If she is, I think she's sick of not getting attention.
01:59So I guess she's sick of society that it's not giving her the attention that she feels that she, yeah, needs and that she deserves, I guess.
02:13But yeah, I don't think she's sick of herself, not even when the film ends, but yeah.
02:23Horror movies are no longer just associated with jump scares and gruesome effects to shock the viewer.
02:31It doesn't always have to rely on the visual rendering of something scary, but rather delivering to the public potentially destructive stories like Sick of Myself.
02:44What do you think about that?
02:46I think you're absolutely right.
02:48I think this film is, yeah, a horror movie in a way that leaves you not discussed as you.
03:00I mean, there's some body horror in it, which can be disgusting for a lot of people, but I think mostly it leaves you with this uncomfortable feeling in your body.
03:12And at least what I've heard from audiences is that they leave the cinema really, I mean, a bit disturbed and a bit confused in what they're feeling.
03:27Because you watched this film and there's hilarious moments in it, but you laugh at the same time when you're feeling really horrible and you don't know if you're allowed to laugh or why you're even laughing sometimes.
03:42Yeah, I think it's a very interesting film to watch and thinking about human psychology afterwards and trying to figure out why you feel that way when you watch this film.
03:59Because it's a lot of feelings and emotions going on and a lot of it is not comfortable, but that makes it even more interesting, I would say.
04:08Sure. One last question from Ninja Babies, Raquel, through Cygne to Bastardin, which I was lucky enough to see at the Venice Film Festival.
04:19You are choosing roles of disruptive and multifaceted female personalities, we could say. What attracts you to these roles?
04:30Well, first of all, I've been a fan of Christopher since I watched his first short films and music videos like 10, 11 years ago.
04:46So I always wanted to work with him. But on the character level, I think that it's just, it's not that common to be able to do this kind of anti-hero female main characters.
05:04And I mean, for me, it was just like a gift being handed to you, doing this part.
05:12I love doing characters that I don't understand the first time I read the script.
05:19So there's a lot, I want it to be a lot of, to work with and I want it to be difficult for me, like the work should be difficult for me to find it interesting.
05:30Yeah. Yeah. And I think that was definitely the case with this one.
05:36Yeah.
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