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| INTERVIEWS/REVIEWS: |
Luc Besson |
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Angel-A |
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Interview by: Izumi Hasegawa |
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Mar 9, 2007 |
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Q1: Why black and white?
LB: It was cheaper. (laughs) No, all the film is about position. She's tall and he's small, extraverted, introverted, the good, the bad, the black and the white, the yin and the yang, I tried to put everything in position. And I made also this feeling of ??? and dream almost. We don't know if it's a true story or if it's a fairy tale. I need the people to float a little so I used the black and white, the music, the frame, the fact that Paris looks like a different place from what we know. Because I need the people to believe the end so I need to prep them. The end arrives and people think it's logical.
Q2: Your vision of Paris in this film?
LB: It's not so much just the black and white, it's also the lighting of it. And all these old cities like Paris and Rome and Venice were built without electricity. It didn't exist at the time. So the architects were taking care of the sun much more of the time much more than now. And you can realize in Paris how well...
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