Along the way, a mystical deer reveals hidden truths, sparking a journey of discovery and connection.
The film starsIsabelle Huppert,Sandrine Pinna, andXiaodong Guo.
Check ou the full conversation in the video above or you’re free to read the transcript below.
Image by Photagonist
COLLIDER:I really want to start with congratulations for making the movie and for being at Sundance.
FLORA LAU: This is a film about contemporary human relationships.
Ultimately, it’s about generational differences, family values, and searching for love.
Image via Sundance Institute
I want to produce.
I want to do the music.
I want to act in it?
Image by Photagonist
Whereas VR has been around us in different shapes and forms for a long time.
For some funny reason, we actually feel more open to talk and be our true selves.
I may be a stranger.
Image via Sundance Institute
YVETTE TANG: Why did I produce this?
Because it was a scam!
A scam by my best friend.
Image by Photagonist
[Laughs] It was a very personal experience.
I kept telling people it was also us being naive.
Thegoodway to talk about this naivety is we have this very pure-hearted passion.
Image by Photagonist
What we really want to do is to combine the best of all worlds that we know.
Then, putting it on a 2D screen, it’s even more complicated.
So, that is, to me and to Flora, the biggest drive for the whole thing.
Image via Sundance Institute
HUANG LU: For love!
TANG: Cliche, but it’s true.
LU: Ive known Flora for many years.
[Laughs] We FaceTimed for an audition for her last movie.
I watched her last movie, and I liked it very much.
[Laughs] Actually, the most important thing is that I think the script is very modern.
I feel that some parts are likeParis, Texas, which is my favorite movie.
Love is the most important thing.
Musically, it was really interesting to be able to express modern dystopia versus human connection to humanity.
Hot pots played a big role in the film.
I think everyone can feel connected to this film in a way.
TANG: You see this very, very, very ambitious project.
So, with all the cast, that’s why, “Why not?
We should produce and go for this.”
Can you talk about that opening shot and why you wanted the credits to be like that?
With the opening shot, I was like, “Oh, shit!
What am I getting myself into?”
Because filming in three different places is incredibly ambitious and each one comes with logistical challenges.
[Laughs] We came out stronger!
LAU: For me, it was pretty fun, actually.
I totally trust my production team.
They were very competent.
That’s the thing I don’t think a lot of people realize.
In Europe, especially in France, the rules and regulations for filming are so radically different.
TANG: They used to serve wine, too.
But that’s just lunch!
Sandrine, you have a lot to do in the movie.
All of these combined are very appealing to me.
Developing Fully Immersive Virtual Reality Worlds in ‘Luz’
VR plays an important part in the movie.
Can you talk about the time you spent developing the headset that people were going to wear?
There are a lot of options.
What is the game about?
Should we be role-playing?
How many levels are there?
How did it get to the next level?
It became so complicated that it could have been just a film on its own.
That’s when I thought of chasing a deer, which is very metaphorical in itself.
We did a very complex round and went back to the basics.
TANG: Could you imagine the production and producers decisions at that moment?
They are just a vehicle to express what we want to say.
Perhaps that’s easier for audiences to resonate with a film better.
I’m fascinated by the editing process because it’s where it all comes together.
The VR itself has its own pacing.
With those scenes, I really had to think about it in the editing phase.
I wouldn’t have been able to think of that kind of transition when I was shooting.
It was found in the editing.
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