Interview with
Jean-Marc Barr
(director, director of photography, and co-author
of Lovers)
and
Pascal Arnold
(co-author of Lovers)
by Elisabeth Nagy
Queer
View: You already worked with Lars von Trier in the old
times. At what time did you first hear about the concept of dogma?
Jean-Marc Barr:
He asked me a couple of years back to be the
godfather of his twins and so I went to Kopenhagen to go for the service. I
was staying in the workhouse behind his house. Where I was sleeping there
was a poster of Dogma, a kind of black and red poster. There was also The
Idiots on cassette. So I started watching that in Danish. I didn't
understand anything but I saw very plainly how he was shooting the movie,
what he was proposing in terms of shooting in digital video and breaking all
the rules in terms that you can see the guy with the microphon. At one point
he was seen himself. I didn't read the rules for example, I read them
afterwards.
Pascal and myself worked together, he as a writer and I as an actor on
different films. When he had seen The Idiots and we had seen The
Celebration at Cannes, all of a sudden The Celebration
got an award, all of a sudden the filming of a movie in video, transferred
to 35mm, gained credibility. With that Pascal and myself decided it was time
that we can make a picture, that it was a viable alternative. Because
without having artificial lights, with the sound taken directly from what we
got during the scene on the set instead of putting music on top of that
afterwards, so, by using a decor which is not made but exists, by all those
rules the budget was reduced five to seven times.
One of the big dilemmas for young directors today or first time directors
is, in order to get a film done and to get it done accurately or well done
you need a budget about 5 or 10 or 15 million dollars. If you can't find
success, if the film doesn't find success, if you don't make your money
back, you don't do a second film.
Our big dilemma was to make a film, make it economically viable, and do
something new at the same time. So, Pascal and I decided to make Lovers.
We took the dogma rules, and made our first dogma film. But we also went to
Canal + , and TF1 International with the script. After we had the idea in
July [1998], we wrote it in September, we financed it in 10 days in October,
we shot it in the end of November till the end of December, and we edited it
in six weeks. It was a six month period.
We presented these two television companies a European film, not a French
film. A film financed by the French, but a European film in the sense of a
love story that takes place in Paris between a Jugoslavian man who doesn't
speak French but English and a woman who speaks French and English. We
wanted to propose a European film in English for the world market, that was
a reason we got together and why we made a film like Lovers.
Queer View:
Have you had the story a long time with you and
just waited for a chance to realize it?
Jean-Marc Barr:
No. We had finished with Elodie Bouchez on
a movie just before. I heard that Elodie speaks English, and I was really
fascinated by her beautiful accent. I thought that would sound great in the
movie. We have had a friend a year before, who was a Jugoslavian artist who
had been exposed from Paris, and who unfortunately died. That was also one
of the reasons, not the reason but one of the reasons.
Also: Because this camera is so small, we wanted to find the foretaste of
it. And the foretaste of this small camera is in revealing very intimate
scenes, scenes that are concentrating on emotion which the bigger cameras
can't give.
Queer View:
Because of this, the Scandinavian dogma films,
for example The Idiots, show everything, they break taboos.
Jean-Marc Barr:
Sure, sure. That is what Lars had done.
Queer View:
Maybe it's because of the Scandinavian culture,
they don't have a problem with this.
Jean-Marc Barr:
Exactly.
Queer View:
But dogma is about taking everything as it is.
However, you show us the intimacy and then you go off. Is this intended?
Jean-Marc Barr:
Do you mean the intimate part in terms of the
sexuality?
Queer View:
Yes.
Jean-Marc Barr:
What was most important for Pascal and myself was
that anyone who had fallen in love could identify with the dilemmas and the
conflicts of this couple who is from two different cultures. Who had a real
problem because one was there illegally. And how the couple tries to resolve
this conflict. This was a film on love.
Shooting this film we discovered for the first time in our careers that
because the budget was so low and because we´ve taken the camera, we were
writing, producing, and directing it together, that all of a sudden we
didn't have a television company, a studio, or a publisher telling us how to
write the film, how to cut the film, how to shoot the film. We had complete
freedom. This technology was the reason for this freedom.
We decided to do a trilogy on freedom, which is called free-trilogy. The
first movie of this trilogy being Lovers, which is [about the]
freedom to love who you want, where you want. The second film, which we just
finished shooting in America, is called Too Much Flesh which
is [about the] freedom of sexuality. In that film we concentrate on that
intimate part, see what I am saying?
Queer View:
And the third part?
Jean-Marc Barr:
The third one is [about the] freedom of spirit,
freedom of thought, which is called Being Light, which we will
film next year.
Queer View:
Who will direct that?
Jean-Marc Barr:
Both. We do everything, we co-direct, we
co-produce, co-write. Pascal held the camera in Too Much Flesh,
I held the camera in Lovers; I am playing as an actor in Too
Much Flesh. We also have Roseanna Arquette and Elodie
Bouchez.
Queer View:
What do you think about the use of nudity
today, and is there a connection why you shot that in America?
Jean-Marc Barr:
That's why we did it. We were in a very small
community in the middle west, a small town of 600 people. It's a story of a
guy who discovers his sexuality at 38 years old, and who wants to manifest
his freedom of sexuality. In that film there is that nudity and everything
but the most intimate thing that you can show.
For us in terms of Lovers, what was important was to pursue
and have the audience identify with the love of this two characters.
In my personal taste for example, when you start watching people making
love on the screen, if it's not a porno it's false. It doesn't excite me.
Let's say, what was important was that their relationship was more based on
love than the sexuality part of it.
The sexualtiy part which is another thing - desire - we wanted to
concentrate on in Too Much Flesh. And that we can really
concentrate on. I mean that taboos of love are breaking with The
Idiots, for example, when you see not actors but pornographic actors
doing a penetration scene. I think that is also Lars dealing with his
Catholicism...
Either you do or you don't. I haven't seen many films outside a Japanese
film where sensuality is really pursued. Pascal and myself believe in doing Too
Much Flesh that people should have the right to choose their
sexuality and also to manifest their sexuality as long as it doesn't
threaten the liberty of others. It's an important theme for us, we made a
whole movie about it. But in Lovers, what was very important
was that the spectator, if they have ever fallen in love, could identify
with this couple and realize the importance of that love for them.
Queer View:
Your premise is that people are divided by
politics. However, Dragan could have legallized himself, if he would have
taken action. And Jeanne, for example, could have married him.
Jean-Marc Barr:
She could have married him, but we had Jean-Michel
who comes and says at the door: "Why don't you marry him?". She
says how impossible that is, that they have to get proof that he has lived
here for the past two or three years, that they have to get all these kinds
of proof.
Queer View:
Well, that's the way it is.
Jean-Marc Barr:
Yes, I know, but it wasn't like that seven years
ago.
Queer View:
Well, it wasn't like that ten years ago.
Jean-Marc Barr:
I know, I know. But this is a war film, these are
victims of war. Also, we are dealing with Europe which is supposed to be
unified.
Queer View:
Well, ten years ago, exactly ten years ago,
when it all happened, people of Jugoslavia lived illegally in France as
well.
Jean-Marc Barr:
No, you could have had a Jugoslavian passport and
live there.
Queer View:
It depends.
Jean-Marc Barr:
No, because I live with a Jugoslavian woman now
for 15 years, and I know the Jugoslavian community in France for example,
and all of a sudden the war started, they could no longer travel, they no
longer could leave the country, and all of a sudden they were there
illegally. They weren't illegally there before. The war changed a lot of
principles
in France. If you happen to have no ID, if you are Morrocan or Slav or I
don't know what, you have three days to leave the country.
Queer View:
Exactly. You show the police as a very kind
one. They don't do it in that kind way.
Pascal Arnold:
Yes, sometimes they do that.
Jean-Marc Barr:
Did you see The Decalogue by
Kieslowski?
Queer View:
Not every part of it.
Jean-Marc Barr:
There was a morality after each film. We are not
saying what is right and what is wrong. We are showing a situation in which
two people, who are destined to be together, are all of a sudden separated
by some stupid law. There is something wrong, elemental, in that law. The
law still exists, it's not gonna change. We are not saying that it's right
or wrong, we let the audience decide if it's right or if it's wrong. But
[the lovers] are victims, and we are just showing a love story that happened
and that stopped because of some stupid law.
Pascal Arnold: The law is stupid, not the police.
SPOILER ZONE: If you haven't seen the film yet,
jump to the next question.
Queer View:
But they could have gone further. The film ends
here, nobody knows what happens after.
Jean-Marc Barr:
That's the best way to end a film. Maybe they
weren't destined to be together, maybe it helped Elodie's character out,
maybe it helped Sergeï's character. You could have all sorts of endings.
What is important is: This film is a European film. It's a film where Elodie
and Sergeï's generation is the first generation which speaks fluent English
among itself. They are from two different countries, but they belong to
Europe, that is in a state of seperation. What's important for us as
filmmakers today and being European filmmakers is we can make films in
English that are a real basis of communication. That potential is enormous
for a world market and making an alternative to what American cinema is all
about today. We consider ourselves as European, Jeanne and Dragan are
Europeans, but they are in a constant state of seperation.
Queer View:
I don't know if it's intended or just I who
sees it like that: Both characters have a certain weakness, because she lets
him go, and he is not taking responsibility.
Jean-Marc Barr:
There are a lot of couples like that, my couple
included. There are two different ways in looking at life. Dragan is not
used to the responsibilities of the capitalist situation. He is an artist,
he lives on his instincts and what he feels. He doesn't care, he gets drunk.
Those are qualities that are outdated, and the western part of Europe looks
down upon. Whereas in the eastern part of Europe, and what had happened here
in Europe before, those qualities we really looked well upon. And that is
what an artist is all about. These qualities are left behind. We are looking
at an industrial age, technological age, where all of a sudden that kind of
humanity is looked down upon.
Queer View:
What are your personal experiences, as your
wife is from there and travelling down there?
Jean-Marc Barr:
I am more American than I am European, in the way
I was brought up. The Jugoslavian way or the Slavic way of looking at life
is a 180 degrees difference. They are people who rely on emotion, they are
not people who rely on rationality like the Americans. They are less
hypocritical than the Americans. They are poor.
Those differences between us is what keeps us together, because we are so
different, because she sees life in one way and I see it in another way. The
mixture of that, Pascal and I, he being French and I being American, we are
completely different. But it's in the resolution of those conflicts that we
find our love together when we come actually to a better point than we were
before.
When I go to Jugoslavia I adore the theater there because they have a
real audience. They have a real need for the theater. Their cinema is
incredibly strong for a small country. When you see Kustorica, when
you see some other people coming out of there, they got a very alive
cultural community. Now, that the war has hit, it's dead.
When I met my wife I didn't know where Jugoslavia is on the map. There
are two different ways of thinking. I learned more about love through the
way she sees love, as a person who had no religous upbringing, who had been
brought up in communism. Whereas I was brought up a Catholic, in a very
righteous society. I find her morals much stronger than mine. The Americans
self-righteously think they are always the best, they have to be right.
Queer View:
More a side question: You've played a lot of
times a very organized military man. I read in your biography that your
father had been in the military...
Jean-Marc Barr:
I was born here in Germany, on a base. [In Bitburg
as a son of an American father and a French mother.]
Queer View:
Does that help to play some military person, or
is it that you wanted to get away from it, and now you are doing it again?
Jean-Marc Barr:
I played a few military people as an actor. But
when you are acting you try and go for things that interest you. I played
one military man [Marching in Darkness], an Italian who
commits suicide and rape, the whole idea of the Spartan philosophy, the
whole idea about fascism and how it is linked to sexuality. The whole thing
about control, about being controlled. It was an Italian film, but it didn't
seem like one. I pursued it because the character seemed interesting. I also
did a love story between a French agent and an Egyptian fundamentalist [Les
infidèles]. A love story, that was taking place in Kairo. Which is
something! It's a love story, a homosexual love story between enemies. I
mean, just the idea of that is intriguing.
Queer View:
You seem to have a lot of these gay characters
in your career. Is it some kind of klischee that they are given to you?
Jean-Marc Barr:
No, no. I find, when you do something that you
don't know much about, that you have the character and you have the
possibility to study a character like that. That you open your doors to
things that you have never opened before. The whole idea about power and
sexuality doesn't come only in a heterosexual category. It comes also in the
homosexual category. And the two of them mix. We live in a time where this
exploration is allowed. 50 years ago you could never had done it, it had to
be very settled.
But today, we just did a film called Too Much Flesh in a
small town in Illinois about homosexual and heterosexual freedom. For us
it's an important thing that the people have the right to follow their own
sexuality today, it's almost an ethic for us. It's important. The characters
that I am offered I do because when somebody offers me a chance to play a
homosexual love story between a French agent and an Egyptian fundamentalist,
and I got to play the Egyptian, I mean, that's an incredible part to play.
There is a lot to do there. That's why I do it. It's better than playing
some action hero who's gotta go kill 13 or 25 guys to finish the picture,
and not much is learned. Of course [the gay films] are not very big budget,
big commerical films. But they are films that I think will live.
Queer View:
After The Big Blue you seemed to
have avoided everything which is...
Jean-Marc Barr:
...big budget.
Queer View:
And now you are playing with Roseanna Arquette
again. Your careers have taken extremely different ways.
Jean-Marc Barr:
Oh no, she has been quite similar to me. She
worked with Cronenberg, and a lot of other directors who are
interesting. She is more into the mainstream because she lives in Hollywood.
But as an actor she is taking chances like I am taking chances. It's much
more difficult in America to have those opportunities. In Europe you can
have a lot more.
Queer View:
That's why you decided to live in Europe?
Jean-Marc Barr:
The reason I left America was because I didn't
want to do that work. For me, those big budget movies have a purpose, mostly
for the children's market. But they don't touch me, you know. We just went
to see The Sixth Sense in America: It's ridiculous! It's
supposed to be a big film that's working. Instead it's a film you forget
while you are watching it.
Queer View:
How was it to work with Roseanna Arquette
again?
Jean-Marc Barr:
Roseanna and I haven't seen each other for ten
years...
Pascal Arnold:
...she wanted to work with us.
Jean-Marc Barr:
And she was intrigued by the way we were shooting
with this camera. Pascal and I tried to put together all those people we
admire and love, and she is one of them. That's why she was there.
Queer View:
Has Lars von Trier seen Lovers?
Jean-Marc Barr:
Yes.
Queer View:
What's his opinion?
Jean-Marc Barr:
He liked it very much, so we asked him for the
dogma certificate.
Lovers screened during the:
66th MIFED 1999
Interview conducted in English on November 2nd, 1999,
in Berlin.
No French or German version available.
copyright:
Queer View, November 1999
A quick guide to Jean-Marc Barr's gay world of film
drawn up by Kate Infectious
1988:
The Big Blue (Le Grand Bleu / Im Rausch
der Tiefe)
Though Barr gets entangled in a heterosexual love story with Roseanna
Arquette and a love-hate relationship with fellow competetive deep sea diver
Jean Reno, Barr melted many gay teens' hearts around the world who
had no problem identifying with his dolphin-phile, shy and mysterious
character.
1994: The Favorite Son (Le fils préféré / Der
Lieblingssohn)
Barr finds out that one of his brothers is gay.
1995: Marching in Darkness (Marciando nel buio
/ Im Namen der Ehre)
Barr succumbs to vicious power plays and raping his male soldiers in the
Italian army.
1997: Les infidèles
A French male agent is hopelessly seduced by an Egyptian fundamentalist
(Barr) in diplomatic distress with the Western law enforcement.
1998: What I Did for Love (Folle d´elle)
In order to get close to the woman of his dreams, Barr has to mimic a gay,
cause the before mentioned femme has had enough of straight lovers and
roommates.
1998: Don't Let Me Die on a Sunday (J´aimerais pas
crever le dimanche)
Barr plays an absolutely queer character who experiments sexually with
women, men and the seemingly dead. One of his best (gay) friends is
seriously inflicted with Aids.
2000: Too Much Flesh
Freedom of sexual identity in rural America is especially a challenge, when
man desires men.
Freiheit - ein großes Wort
filmtext.com sprach mit Jean-Marc Barr über "Too
Much Flesh",
den zweiten Teil seiner sogenannten "FreeTrilogy", der sich dem
Thema Sexualität widmet
filmtext.com: Warum halten Sie es 30 Jahre nach der sogenannten sexuellen
Revolution für nötig, ein Statement zu mehr Freude am Sex abzugeben?
Jean-Marc Barr: Man kann wohl davon ausgehen, daß in Frankreich heute
sexuelle Freiheit herrscht. Seit mindestens fünf Jahren kann man sich
pornographische Filme im Fernsehen ansehen. Sex ist ständig präsent in den
Medien, wir sind sozusagen die ganze Zeit angetörnt. Was Pascal (Arnold,
der Co-Regisseur. D. Red.) und ich in diesem Teil der
"FreeTrilogy" versuchen wollten, ist, den Zuschauer in eine
Position zu bringen, in der er sich mit einem der Charaktere identifizieren
und sich selbst fragen kann: "Bin ich frei in meiner Sexualität? Wie
bin ich in meiner Sexualität geformt? Wie bin ich vielleicht deformiert?
Habe ich echtes Vergnügen am Sex?" Vielleicht haben wir sexuell mehr Möglichkeiten
als vor 30 Jahren, aber sind wir sexueller Erfüllung näher gekommen?
Vielleicht imitieren wir auch nur die Bilder, mit denen uns die Medien füttern.
filmtext.com: Haben Sie Erfahrungen mit den Verhältnissen in dörflichen
Gemeinschaften in Amerika, wie Sie sie in "Too Much Flesh"
darstellen?
Jean-Marc Barr: Warum wir diesen Film überhaupt in Rankin drehen konnten
ist, daß meine Großeltern dort gelebt haben und mein Vater auch dort
geboren ist. Die Leute dachten zuerst, "Too Much Flesh" sei ein
Porno, und wollten nichts damit zu tun haben. Mein Großvater im Film ist in
Wirklichkeit mein Großcousin, und er wollte auf keinen Fall das Skript
lesen. Sein Sohn ist homosexuell, und er hat es noch immer nicht akzeptiert.
Und wir reden über eine ganz normale Gemeinde, wie man sie auch in
Deutschland, in Frankreich, in England finden kann. Wir haben den Film
bereits in verschiedenen Ländern gezeigt, und die unterschiedlichen
Reaktionen darauf sind wirklich interessant. Die Spanier haben gesagt:
"Ein Film über sexuelle Probleme, wunderbar, laßt ihn uns
ansehen." Die Deutschen haben gelacht, "Ha ha ha", sie wußten
nicht so recht, wa sie damit anfangen sollten. Die Engländer haben sich nur
in ihrem Kinosessel gewunden, es hat sie zu sehr verstört. Die Iren haben
sich auch gewunden, aber sie waren sehr neugierig, sie wollten was sehen.
Die Erziehung in den verschiedenen Ländern ist in dieser Hinsicht einfach
sehr unterschiedlich. Letztendlich sollte jeder das Recht auf seine Freude
am Sex haben, so lange das nicht mit der Freiheit einer anderen Person
kollidiert. Das ist die Hauptsache.
filmtext.com: Aber haben Sie nicht auch Angst, dieselben medialen Bilder
zu reproduzieren, die wir schon kennen? Elodie Bouchez ist zum Beispiel eine
sehr schöne Frau, die es einem leicht macht zu sagen: "Ach ja, Sex ist
schon etwas Wunderbares".
Jean-Marc Barr: Ja, wir schaffen auch Bilder. Aber wir haben in Elodie
eine Schauspielerin ihrer Generation gesehen, die keine Werbung für Parfüm
macht. Sie sucht sich ihre Rollen gut aus, und sie versucht sich als
Schauspielerin weiterzuentwickeln. Und die Kombination von Schauspielern und
Filmemachern und die Art, wie wir zusammenarbeiten, ist die Arbeitsweise der
Nouvelle Vague. Wir haben drei Filme in drei Jahren gemacht (der dritte Teil
der "FreeTrilogy", "Being Light", ist bereits
fertiggestellt. D. Red.), und wir haben diese drei Filme zum Preis von einem
gemacht. Und wir hatten dabei die komplette Freiheit.
filmtext.com: "Lovers", der erste Teil Ihrer
"FreeTrilogy", war ein Dogma-Film. Warum haben Sie diesmal keinen
Dogma-Film gedreht?
Jean-Marc Barr: Dogma war ein "state of mind". Es war ein
Versuch, alle Künstlichkeit aus dem Kino zu verbannen. Davon hatten wir mit
"Das Fest" und "Idioten" zwei sehr schöne Beispiele.
Als "Mifune" in Berlin herauskam, war Dogma plötzlich das große
Ding. "Mifune" wurde für eine halbe Million Dollar verkauft.
Schließlich wurde Dogma vermarktet und damit vernichtet.
filmtext.com: Erzählen Sie uns etwas über Ihren Begriff von Freiheit,
um den es Ihnen in der "FreeTrilogy" ja geht.
Jean-Marc Barr: Die einzige Weise, auf die "Too Much Flesh"
wirklich für den Zuschauer wichtig werden kann, ist in dem er ihm klar
macht, daß persönliche Freiheit immer auch gefährlich ist. Wir dachten
zuerst daran, den Film "Easy Fucker" zu nennen, in Anlehnung an
"Easy Rider", den letzten echten amerikanischen Western. In ihm
geht es um das Individuum, das für seine individuelle Freiheit einsteht.
Was ein uramerikanisches und überhaupt ein westliches Konzept ist. Pascal
und ich glauben daran, daß die Freiheit des Einzelnen der Freiheit der
Gemeinschaft nur zugute kommen kann. Der gemeinschaftlichen Freiheit. Wenn
wir eines gelernt haben sollten, dann, daß die Gesellschaft nur frei sein
kann, wenn jeder einzelne eine Vorstellung von seiner eigenen Freiheit hat.
Darum haben wir die Geschichten der Trilogie in einer modernen Demokratie
angesiedelt, in der alle frei sind.
filmtext.com: Angeblich frei.
Jean-Marc Barr: Voilá! (Lacht) Das wichtigste ist der Glaube. Und offen
zu sein für all die verschiedenen Welten. Es gibt nicht die eine Antwort,
die eine Wahrheit.
filmtext.com: Verstehen Sie sich als "Auteur"?
Jean-Marc Barr: Wir verstehen uns nicht als "Auteur" und
"Realisateur", wir verstehen uns als Filmemacher. Godard und
Truffaut und all diese Leute sind Filmemacher, die nicht den Film machen
wollten, sondern einen Film. Und wir machen keine billigen Filme. Ich nenne
das "economic coherence". Wenn man den Leuten eine starke Story
gibt, stören sie sich nicht an der digitalen Aufnahme. Und die digitale Ästhetik
vermittelt auch ein Gefühl. Wir bezahlen alle Leute regulär, und wir
machen die Filme in einem Drittel der Zeit, die man für einen normalen Film
braucht. Und unsere Filme sind bereits bezahlt, wenn sie ins Kino kommen.
Heutzutage nennt man einen Film großartig, wenn er 150 Millionen Dollar
gekostet hat und 300 Millionen Dollar einspielt. Und ein Schauspieler ist
ein großartiger Schauspieler wenn er 20 Millionen Dollar verdient. Vor 30
Jahren gab es diese Kriterien noch nicht. Man kann auch einen Dogma-Film für
35 Millionen Dollar drehen, aber ebenso für 500 000. Für unsere Filme muß
niemand draufzahlen, in der Tat machen sie einen Gewinn. Wir waren als
Regisseure unbekannt, und wir wollten zeigen, daß wir drei Filme zum Preis
von einem machen und sie auf der ganzen Welt verkaufen können. In Paris
laufen an einem Tag 120 verschiedene Filme. In Los Angeles sind das nur 35.
Und nur einer davon ist nicht von Amerikanern finanziert. Und in 20
Multiplexen laufen dieselben verdammten zwanzig Filme. Die Amerikaner sind
zu dem geworden, was die Russen in den Fünfzigerjahren waren.
filmtext.com: Glauben Sie, daß Sie in zehn Jahren ihre Filme noch in
Europa zeigen können, wenn sie nicht in die Multiplexe kommen?
Jean-Marc Barr: Ich glaube daran, daß das Kino niemals sterben wird. Ich
bin stolz darauf, im Widerstand zu sein. (Lacht) Das wunderbare an der
Arbeit von Lars von Trier und anderen europäischen Regisseuren ist, daß
sie in Englisch drehen können. Denn inzwischen können wir auf dem ganzen
Kontinent uns klassenübergreifend unterhalten - auf Englisch. Und mit
"Breaking the Waves" oder "Dancer in the Dark" können
wir Produkte anbieten, die in einem solchen Gegensatz zu dem Scheiß stehen,
den die Amerikaner produzieren... Die Amerikaner haben Lars immer ignoriert.
Aber jetzt furzt er nicht nur in der Kirche, er scheißt in die Kirche. Mit
"Breaking the Waves" hat er denen eine Liebesgeschichte vorgelegt,
an die sie selbst niemals herankommen können. Und da liegt unsere Stärke
in Europa. So lange wir Filme machen und sie in Japan, in Korea und in
Indien laufen, in Afrika, sind uns die Amerikaner egal. Sie haben sich völlig
vom Rest der Welt abgeschnitten.
filmtext.com: Ist die Verwirklichung von persönlicher sexueller Freiheit
für Sie gleichbedeutend mit persönlicher Freiheit schlechthin?
Jean-Marc Barr: Das habe ich noch nicht herausbekommen. (Lacht) Man kann
nicht alle Probleme loswerden. Wir haben diesen Film gemacht, und ich stelle
mir immer noch die gleichen Fragen. (Lacht) Ich würde zwar sagen, daß ich
frei bin - aber ich bin es nicht.
Mit Jean-Marc Barr sprach Dirk Schneider
Twoofsix.net
