Audrey Tautou Talks Mood Indigo and the Genius of Michel Gondry
Photo by Michael Dunaway
In a way, it’s a little bizarre that Audrey Tautou, the luminous star of Amelie, among many other films, has never worked before with Michel Gondry, the acclaimed director of Eternal Sunshine of the Spotless Mind, among many other films. She would seem to fit right into her countryman’s myriad worlds. (The two obviously agree, as she’s also starring in his next film.) In Gondry’s new surrealistic film, Mood Indigo, he needed a heroine with whom we’d immediately fall in love (just like the hero), and to whom we’d look for an anchor when things got weird (just like the hero). Tautou delivers both in spades, but when she sat down with us recently after the premiere of the film, all she wanted to talk about was what a genius Gondry was. And because she’s Audrey Tautou, we let her. Enjoy the conversation below, and see page two to see the full, uncropped Tautou portrait. We’re not cruel, after all.
Paste Magazine: Thank you for giving us some time today. We saw the film (Mood Indigo) yesterday on the big screen. It was quite an experience! The friend who saw it with me said it reminded her a little bit of Pee Wee’s Playhouse.
Audrey Tautou: Pee Wee’s Playhouse? What is that? (Translator describes what Pee Wee’s Playhouse is and mentions his white shoes.) Oh yes! Tell your friend she’s not the only one who feels that way! (Everyone laughs)
Paste: So then I said, “This movie is like Pee Wee’s Playhouse meets Eraserhead, meets Amelie.”
Tautou: Yep.
Paste: So it seems like you had some good influences there. I’m curious, for this film more than most, it must have been difficult when you were reading the script to really understand what the film was supposed to be like.
Tautou: Yes, when you read the script you might think, “How will it be possible to make this?” The reason is because we didn’t want to use digital effects. So, when you read the scene where Jesus is riding around in a rocket-ship with the priest in front of it when they are going to get married, you’re like: “Okay, but how are they going to do that?” You know, it’s like when you’re reading a book, and the images in your head are so crazy; it becomes natural to wonder how things can be done. Today, you can use digital effects to do everything, but Michel didn’t want that; he wanted to keep it close to the book. He wanted to make sure the film had sensitivity. I totally agree with him. Considering Michel’s technical decision-making, including his decision to stay away from digital effects, I wondered how he would be able to do it.
Paste: I think that the choice to stay away from digital effects makes the film more immediate … more visceral … more organic. I find that sometimes, movies that have a lot of visual digital effects put me to sleep a little bit, because it’s all too slick.
Tautou: Mmmhmm.
Paste: Natural effects keep you on your toes.
Tautou: Yes. Natural effects make things so real. As actors, you can feel that on the set. Everything was concrete—every prop, every decoration. It is a fantastical world, but it exists! So, it does not require an effort from us with our imaginations. As actors, we don’t have to pretend; it feels like real life. That was something very important and very helpful. It is true that when you watch this movie, Michel does not prepare the audience to get into that world. It’s very unconventional. I think that with the cinema that we see today, there is something that is very… anachronic?
Paste: Anachronistic, sure.
Tautou: Mood Indigo is anachronistic, because you can’t date it.