At age 28, French actress Léa Seydoux has worked with some of the most renowned directors on the planet including Woody Allen, Catherine Breillat, Christophe Honoré, and Quentin Tarantino, but it’s her work with French/Tunisian l'enfant terrible Abdellatif Kechiche that’s garnered her the most praise and attention. The striking actress who’s appeared in mainstream movies including Midnight in Paris and Mission Impossible: Ghost Protocol, sheered off her tresses and dyed her short hair a cool blue to play Emma, a painter with a penchant for philosophy, who falls for a highly sensual younger woman in Kechiche’s epic love story Blue is the Warmest Color, based on the graphic novel by Julia Maroh. But if Blue sounds familiar -- at this point -- it’s likely due to the media furor over its intensely realistic lesbian sex scenes that shocked audiences at Cannes and subsequently earned the film an NC-17 rating for its release in the United States on Oct. 25.
Earlier this year Blue made a splash at Cannes, landing the director and the film’s stars Seydoux and 19-year-old Adèle Exarchopoulos the Palme D’or. The well-deserved win made Seydoux and Exarchopoulos the second and third women in the festival’s history to earn the prize (Jane Campion was the first). But for all of the praise that’s been heaped on the trio for delivering what could easily become the sweeping love story of this generation (the film spans a decade), press surrounding the film has focused on controversy – the explicit nature of the sex scenes that last for minutes on end and the actresses’ uneasy relationship with their director. Just prior to the Toronto International Film Festival last week Seydoux and Kechiche traded barbs over the film’s often-grueling five-month production, that included a full 10 days to shoot the sex scenes, Seydoux told The Daily Beast.
In that interview earlier this month, Seydoux and Exarchopoulos emphatically said they would not work with Kechiche again despite the singularly raw performances he elicited from them. Kechiche fired back, particularly at Seydoux, who’s worked tirelessly in film for the past seven years, essentially calling her privileged and ungrateful for the opportunity with Blue (Her prominent family owns Pathé, the world-renowned film equipment and production company that was founded in 1896).
All controversy aside, Blue is a deeply moving love story for the ages and a game changer for its portrayal of a lesbian love affair that’s sure to earn Seydoux and Exarchopoulos a place in the annals of LGBT film history, and possibly Oscar nominations (that’s if American audiences can warm to Blue).
Seydoux spoke from Toronto with SheWired about the difficulty in working with Kechiche, her enduring friendship with Exarchopoulos, her lesbian fans, and the opportunity to play to her masculine strengths.
SheWired: How did you arrive at the role of Emma?
Léa Seydoux: I just knew that I wanted to do the adaptation of this comic book. Before the meeting with [director Abdellatif Kechiche] I had to read the comic book and then I saw that it was a love story between two girls. I was very attracted to this character. I really wanted to play Emma because I have always felt that I have a masculine part. I've always felt also that I am several women. I wanted to explore this part of myself, the masculine part. As an actress I’ve always been inspired more by actors than actresses. For example, I'm more inspired by Marlon Brando than Audrey Hepburn.
I think your desire to portray your masculine energy really comes through in the film. There is just something very authentic about your approach to Emma. And it is very Brando in some ways.
Thank you. The director wanted me to watch some films with Brando and James Dean.
Your costar Adele (Exarchopoulos) is a relative newcomer. You’ve certainly worked so much in your short time in the business. Do you feel as though you became a mentor to her, especially considering the intensity of the shoot?
Yeah, yeah, I was a mentor in the film and out of the film (laughs).
A different kind of mentor in the film…
Yeah, it's true. We have this very strong relationship now. We're very close and I think maybe I'm like her sister. We really helped each other. It was a collaboration between the two of us. I think this film is also about our relationship…
It's true that it’s a friendship, but there's love between us. You can say there's love.
Seydoux and Exarchopoulos at Cannes.
The film is beautiful and hard to watch in a way that is incredibly thoughtful. At its core, it’s an epic love story. Do you worry that the film could be eclipsed by the controversy surrounding production?
I don’t know, I hope no. Maybe you can tell?
I think in time people will forget the controversy and the film will be revered on its own merit.
Yeah, yeah, of course. And you know, sometimes, I mean it happens sometimes to work, to be in a tough situation. The whole process, the fabrication was difficult. But it makes a beautiful film and we are very proud of the film. I’m very proud that I played Emma. I think it’s one of my favorite roles that I’ve done so far.
Your résumé is so impressive, and you’ve worked with some of the greatest directors on the planet in films like The Last Mistress, La Belle Personne, Midnight in Paris, Inglourious Basterds. What was it about Abdell’s style that was so different from all of the other auteurs you’ve worked with?
Abdell, what I love about his films and why I’m kind of fascinated by his films, is because it’s so realistic, there’s something about realism. It’s something that I love as an actress and as a spectator. I love when there’s something a little like a documentary, when it’s like almost documentary.
Like scripted cinéma vérité.
Yeah, I really love that. For example, I did some films with Ursula Meier, for example a film called Sister, and even like Grand Central--it’s a film that I just did right after Blue Is The Warmest Color--there’s something about [showing] reality and a certain reality. I love that. I’ve found I’m engaged as actress with those kinds of films.