Without giving any of the plot away, there was one day where I got up, I had my little coffee in the morning, I’m waiting for the car to pick me up to take me to set and I get a call from Gaspar and he’s like, “Hey I’m at a café not too far from you. KG: I’ll take you through one day of shooting. How would you go about preparing to do a scene with Gaspar? How do you prepare for something like that? You kind of just have to take a breath and jump off a cliff and hope that the parachute is going to open at some point.īK: I read that you and the actresses didn’t have any dialogue to work with. He wanted you to cry, he wanted you to strip down naked, he wanted you to scream and spit on each other, and he tried to charm you constantly and get you to fall in love with each other and didn’t really allow you to prepare for it because there is no script. That sort of in a nutshell was what the experience was like at times because he really asked a lot of his actors. The walls were lined with cameras from every angle, and I was being shaken and tossed around. In my dream I was in sort of a spherical compartment. I had a nightmare before I went over to France and before he even hired me. I felt like Gaspar was really having a laugh like he was sort of manic and he’s like the master manipulator. There were definitely times where I felt kind of crazy. It’s hard to talk to people about it when they have no concept of what you’re doing. It’s hard to talk to friends back home about it because they don’t really know what you’re going through. I could understand a little more by the end than when we started shooting, but when you are doing stuff like this you become part of a smaller group of people that really understands the work you are doing. In Paris I was alone and I didn’t really know anybody, and I don’t really speak very good French at all. There would be screaming at each other and spitting on each other. He would kind of put us into position and let us run for 45 minutes at a time and then change the cameras around. He wouldn’t tell us what we were going to shoot the day we were shooting. Karl Glusman: You are the first person to ask me that because the focus is always kind of on the flesh. Just how emotionally taxing was the role of Murphy for you?
The thing I admired most about your performance is how it is more emotionally naked than physically naked, and that’s something I hope people will realize when they watch it.
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He also described in detail the way Noe makes his movies, and he shared his experience of working with Refn on “ The Neon Demon.”īen Kenber: “Love” is a very hypnotic movie as most Gaspar Noe movies are.
I got to talk with Glusman over the phone about what it was like to work on “Love.” It marks his debut in a live-action film, and he has since been cast in Nicolas Winding Refn’s “ The Neon Demon” and Tom Ford’s “ Nocturnal Animals.” Many have asked Glusman about what it was like to be fully naked throughout “Love,” but I was more interested in finding out what it was like for him to give such an emotionally naked performance. In the process of trying to get her back, Murphy reflects on the highs and lows of his time with Electra as he sinks into a deep depression. Murphy ends up having sex with Omi which leads to an unplanned pregnancy, and Electra ends their relationship as a result. Then one day they invite another young woman, Omi (Klara Kristin), to their bed to fulfill a sexual fantasy, and soon after everything falls apart. Karl Glusman stars as Murphy, a young film student who is in a deeply romantic and sexual relationship with Electra (Aomi Muyock). However, it is also his most personal film as he explores the power love can have over people and how it can be mesmerizing and yet so painful at the same time.
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As many will expect, Gaspar Noe’s film “ Love” is full of nudity and sex, much of it unsimulated.
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