Luc Besson revealed he is writing a new science fiction story, describing it as potentially requiring both a ticket and an aspirin. He also discussed his creative process and praised several actors, including Madonna and Caleb Landry Jones, during a masterclass at the Venice Film Festival.
Besson, who directed this year’s “Father Joe” starring Kiefer Sutherland and Al Pacino, admitted he is drawn back to science fiction after early successes like “The Last Battle” and “The Fifth Element.” He noted the evolution of special effects, contrasting the 182 used in “The Fifth Element” with the 4,000 in “Valerian.” “It’s going to be crazy, believe me. Maybe you will need a ticket and an aspirin at the same time. I’m older, so I’m trying to explore everything now,” he said.
He downplayed concerns about artificial intelligence, stating, “This whole technical evolution … As a director, you just digest it. It’s always just a tool.” He likened AI to “a tiger — but you are a guy with a whip, speaking German to it.”
Al Pacino, who appears in “Father Joe,” sent a video message praising Besson, saying, “It’s great to say his name.” Besson explained his directorial approach, stating, “The good thing is I’m also a director. I don’t want to be bothered when I’m a director so I tried not to bother [Barthélémy].” He added that he only directs projects when he feels he is the best person for the job, citing “The Big Blue” as an example.
Besson recently directed “Dracula: A Love Tale” with Caleb Landry Jones and Christoph Waltz, explaining his aversion to traditional horror. “I hate horror films. I’m too scared of them. But ‘Dracula’ is a love story — that’s the point. I believe you should do what you feel like, and I’m in love with this actor, Caleb Landry Jones. He’s a genius. For a director, working with a guy like that, it feels like you have a cocktail in your hand when you call ‘action’!” He confessed he made the film specifically for Jones.
Recalling the genesis of “Léon: The Professional,” Besson described being inspired by a man he saw in Paris. “I was walking in Paris, it was so hot, and I saw this huge guy walking by. I thought: Why is he wearing this coat in the middle of the summer?’ I turned around and I was following him. I lost him, and then heard two gunshots.” He then detailed his thought process, imagining the man as a killer and considering what could connect him to a young girl, ultimately landing on a plant as a symbol of dependence and loyalty.
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