MG: Technically it’s stunning to look at—the whole production design, the musical score that you collaborated on or, basically, composed—I thought it was extremely accomplished.
Tykwer: The funny thing is that I feel like in America, the response I’m getting so far, is so much not influenced of course by any predisposition because the novel is not like a myth here, it’s just known, it’s like a book that people know but it’s not like this—in Europe, it has this kind of Lord of the Rings status.
MG: We all have a pheromonal signature.
Tykwer: Exactly. In the pheromones is actually … the way we meet each other, we identify those pheromones immediately and we analyze them already and we can analyze basic genetic structures of the being that we encounter and already make decisions in terms of sympathy or antipathy or mating business or no mating business [chuckles] and all that stuff is being done based on olfactory “first glance” experiences.
Modern science says it’s faster than the visual reaction. Of course it’s faster because sometimes we smell somebody before we actually have seen the person.
But that whole system is still something in discovery. Anyway, as I was saying yesterday, there’s this saying in German—ich kann Dich nicht riechen—I can’t smell you, or I don’t like smelling you, which means I don’t like you. Sympathy and smell and acceptance and smell and all these things have a strong and a close relation to each other in our own idea. This whole idea of saying identity and smell is deeply connected makes total sense. He is, of course, obsessive about this idea but it’s not so far-fetched.
See TwitchFilm for more of the interview.
Tom Tykwer established an international fan base with his highly original and innovative 1998 hit Run, Lola, Run and followed that success with the equally entertaining The Princess and the Warrior (2000).
Post a Comment