The behind-the-scenes production of How Deep I Love You

Bertrand Brier's works always have a strong questioning of morality, often using absurd techniques to cynicize the world, and are full of farce and black humor. Many of his films use the relationship between men and women as an entry point to analyze social moral standards. He is particularly fond of setting up love triangles, and pays special attention to unconventional narratives, including using Brechtian defamiliarization techniques, often having the protagonists look directly into the camera lens. When speaking, try to reduce the emotional impact and be more rational and calm in reflection. The non-linear narrative technique of intertwining reality and fiction, present and past has been fully demonstrated in films such as "Love Is Too Much" and "Thank You for Life".

The plot design of "How Deep I Love Me" looks more like an inverted version of "Lovers on Desire Street". The latter is about the desire entanglement of marginalized characters living at the bottom of society. Passionate low-level prostitutes, one is a homeless tramp. In order to have a family of his own, the prostitutes do not hesitate to use their hard-earned income to support the impoverished "beggar"; and "How Deep I Love Me" is exactly a well-behaved prostitute who has no food and clothing. A worried professional man is hopelessly infatuated with a high-end prostitute with outstanding charm and high price, and is willing to use his lucky bonus to exchange for a seemingly inseparable cohabitation life. Although the veteran director's narrative style is still old-fashioned, the addition of Monica and Bernard undoubtedly injects youthful vitality into the film, and behind this sentimental black comedy, there is also a faint hidden hidden fact that the film has advanced. Brie's slight sadness in his twilight years, as well as the waves of fear brought about by aging and loneliness.

Bertrand Brier, 66, was born in Paris, France in 1939. He first entered the film industry as an assistant director when he was 20 years old. In 1963, he directed the documentary "Hitler, connais pas" (Hitler, connais pas). This film, which used interviews to describe young people's ignorance of history, quickly received widespread attention at the time. After several years of concentrating on writing, Brillet filmed the film "Les Valseuses" (Les Valseuses), adapted from his own novel. This film not only successfully established Brillet's black humor style of sharply satirizing social systems and phenomena, but also It brought the then unknown Gérard Depardieu and Patrick Daval to international film acclaim. In 1978, Brillet once again used these two actors to film "Préparez vos mouchoirs" (Throw Your Handkerchiefs Away), which won the Oscar for Best Foreign Language Film and the César Award for Best Film Score.

Since then, Briere has continued to produce great works, often working as a director and director, occasionally appearing in the camera to enjoy acting, and famous movie stars such as Depardieu have almost become his "royal" actors. 1978's "Buffet froid" won him the César for Best Screenplay; three years later, the subversive "Beau-père" separated him from Padraic Darvar. Nominated for the César for Best Actor and the Cannes Palme d'Or; in 1984, "Notre histoire" starring Alain Delon won the César for Best Actor and Best Screenplay; in 1986 "Tenue de soirée" (Tenue de soirée) won Michel Brown the Best Actor Award at Cannes; and later "Trop belle pour toi" (Trop belle pour toi), "Thank you for living" ('Merci la vie') , "1,2,3 Sun" (Un,deux,trois,soleil) and "Mon homme" (Mon homme) and other films have received good reputations and results at the Caesar Awards and film festivals such as Cannes, Berlin and Venice. . In addition, Briere also served as a judge at the Cannes Film Festival in 1990.

To be precise, this film is a veritable "high concept" film, that is, a stylized film composed of big-name directors and actors, a simple storyline, the same recurring appeal, and certain fashion elements. working movie. When talking about the source of creative inspiration, the director said: "The first thing I thought of was a man who spent time in a bar every night and met a beautiful woman. However, her beauty can make many men*** Enjoy together. In fact, I live near Bigal Bar, which is often visited by beautiful girls. I imagine that this man leads a mediocre life, maybe his shy personality has caused this situation, and his appearance is also consistent with it. Handsome men and beautiful women are incompatible. Therefore, how to choose actors in this film is a crucial part, and the film itself is an art of casting." "Irrevocable" by Gaspar Noe. Monica is an irreplaceable actor as Briere's character prototype of Daniela in this film. The old and funny director said: "She came to the set, sat down gracefully, and lit a cigarette. , is like a powerful aphrodisiac, making every man present want to spend a good night with her."

Monica has portrayed countless glamorous and sexy beauties on the screen. · Bellucci admires the role of Daniela in the film and is very willing to experience this unique experience. She said that although there were many sex scenes and revealing shots of herself in the film, they all showed her most beautiful side and she didn't feel inappropriate at all. And in her eyes, Daniela cannot be called a prostitute. Daniela is just a classical, dignified and sexy woman who pursues desire.

During the entire filming process of the film, Monica's daughter was always by her side, which relieved her a lot of work pressure.

When the actor Bernard Compan, who played Fran?ois, was asked about his understanding of Daniela in the film, he said that she is a symbol of love, body and sensuality, an idealized woman. As a woman, you can find that she seems to be a goddess who combines the qualities of wife, lover and mother. Fran?ois is crazy about her and longs to marry her and have children from the bottom of his heart. At the same time, Bernard was deeply impressed by Brillet, a well-known old director. The rich film experience he accumulated for most of his life made him always able to handle problems with ease. When encountering problems, Brillet would light up his pipe and sit at his desk. , carefully scrutinizing the intersection between the director and the actors in the script, with great humility and patience.