ABSTRACT

How does A Tale of Love fare in such a context? It's surviving in between thrills and rattles. As with my other films, it's actually doing better with time, as it finds its viewers and reaches different audiences. The difficulty is to learn how to be one single self while being with the crowd and to be a crowd when it comes to being oneself. I remember the trepidation of a few crew members at the initial stage of production, not so much in relation to the film itself as to their own hidden desire for a blockbuster-type of film, which they thought this one might well be. But by the time the film reached its final editing phase, such expectations subsided leaving room for frustrated remarks such as: "Oh, com' on, com' on ... give the audience what they want!" [Laughs] Yes, it would have made my life much easier to abide by common habits. The fact that the film used fictional material and was shot in 35 mm was never due to any

commercial consideration or to a desire to "make it" into the film industry. Shooting in 35 mm (which was mainly prompted by Panavision's donation of the camera equipment for the entire shoot) means above all working with a different set of constraints, aesthetics, and politics of filmmaking.