Indeed, it shares some similarities with Deadly Illusions in certain aspects. But it’s also distinctly unique. You wouldn’t watch Blunt and immediately think, “Oh, this must be the same director as Deadly,” that’s not the reaction you’d have. However, someone might mention it afterward, and then it would make sense. I believe they are both potently from the female gaze. In a sexual way.

You know, those older films like Body Heat (Lawrence Kasdan, 1981), they really got to you, didn’t they? They were so thrilling with all the twists and turns. I watched every single episode of Murder, She Wrote (1984-1996). I think I’m a product of my generation’s experiences, which spanned the ’70s, ’80s, and ’90s. So, it’s only natural that my ideas draw from those times. And in that context, I believe they had a positive impact.

A lot of guys did some remarkable things in those days. They celebrated women’s bodies and transformed feminine qualities into something strong, masculine, and unforgettable. Certain moments in movies from this genre stay with you because they strike at the core. I want to preserve that essence.

In the last twenty years, the erotic thriller seemed to have disappeared. In your opinion, what is its progressive marginalisation due to? And what about the recent renewed interest in the genre?

The streaming wave has changed things, you know. Back in the day, we had the dot-com revolution, and now we’re right in the middle of the content wars revolution. There’s so much content today. But streaming has opened up cinema in a way we’ve never seen before.

I think about my trip to Vietnam and all those villages I visited. The women there were watching movies on their phones because they could just click on Netflix and watch in their own language. How else would they catch a flick? There aren’t theaters around. It warms my heart that women like them get to see movies like Deadly Illusions or Blunt. It’s amazing how we’re speaking the same language, yet we’re worlds apart in culture.

My main audience is always on the move, you know. A lot of them are moms or caretakers or women running their villages. Going to the movies is a rare treat when life is buzzing by so fast, and you just want to relax and be entertained.

I think the erotic thriller faded away because certain people were selecting what we should watch. I also think it didn’t make sense economically. But now, with the streaming revolution and all, it’s making sense. Going back to what I was saying about how we might be a bit stuck in our own little world in the States, and then looking at what others are experiencing, especially regarding sexuality. When you look at the numbers of Deadly Illusions, you see all the countries making it number one on the first day and keeping it number one for 11 days… That’s when you realize they’re starving for this kind of content. They’re not just into shoot-‘em-up movies; they want something different.

I think we need to pay attention to those numbers and understand that cinema is a universal art form. It’s one of the coolest things because it transcends language. People from all over the world got Deadly Illusions, no matter where they’re from. And I think they’re going to get Blunt too. You know, Blunt is about a woman using an app to get by, pay bills, with her vacation rental, and vacation rentals are everywhere worldwide. That’s why I wanted to do it next. Because I feel like my audience is outside of the States. My main audience is like those women that I met in Vietnam and the villages. So, I’m trying to give them a two hours of respite.

Did you watch any of the erotic thrillers that have been released in the last two years? I am thinking about The Voyeurs (Michael Mohan, 2021), Fatale (Deon Taylor, 2020), Deep Water (Adrian Lyne, 2022) and Out of the Blue (Neil LaBute, 2022).

Out of the Blue is with who?

It stars the son of Jack Nicholson, Ray, and Diane Kruger.

Oh, I need to see that. Anyway, I loved the Ben Affleck movie. I loved Deep Water. I appreciated it so much. I also loved The Voyeurs. The sound designer on Deadly also did The Voyeurs. That was really fun when that came out. What else has come out?

I don’t know if you would define the 365 Days trilogy (2020-2023) erotic thrillers…

Of course, they’re totally different from movies like The Voyeurs and Deep Water. But I think they’re awesome because, once again, they tantalize women. They’re celebrating sexuality. And they’re unashamed.

I’m sure that men love it. But I loved it personally. For me, it was like some wine. Let me relax and chill the fuck out. I loved it. I appreciated it. I think they’ve done three of them now. They are less of a thriller and more of a romance.

It’s wild to think that all of this has happened in just the last three or four years. It’s wild. Now that I think about it, last night, I was on Netflix, and there was a new category: “erotic thriller”.

Really?

Why do you think critics and part of the public show little respect to this kind of movies?

Well, you know, it’s not something I like saying, but I’ve been pretty fair to the guys. I think around 80%, or maybe I’m not exactly sure of the exact number, but most critics are men. It can be tough for them to fully appreciate such a potent storytelling method. I guess it’s seen as a bit frowned upon to hail it as genuine art because it’s got that pulpy feel to it. You know, it’s kinda labeled as cheap and, well, they might call it cheap, yeah. Nobody wants to praise something that seems, at first glance, cheap, something designed to provoke a reaction.

So, I suppose this is why I’m making these mind-bending sexual thrillers. I want to challenge that notion. It’s not cheap; it’s actually quite highbrow and intelligent. I believe that the more we accept our sexuality, the better off the world will be. It’s about honoring what God gave you. You’re learning to enjoy life and love your life, rather than being ashamed of it. And you know, this is coming from someone who grew up in the United States, and from what I’ve observed in my friends compared to what I’ve seen in other countries.

Do you think we will still see big budgets and big stars devoting themselves to erotic thrillers created for the cinema?

I believe filmmakers should adapt to the economics of the art form. Great art can be created with any means. An artist can employ their creative ingenuity to turn nothing into gold, and that’s what artists excel at. The beauty of art lies in its vast scope and the endless possibilities it offers.

As time goes on, I don’t see the art of cinema fading away. In fact, I think home theaters will become more common. However, this doesn’t mean that traditional theaters will disappear. They offer a different experience. So, within this economic framework, one must adapt.

For me, the current landscape means I’ll be producing a film every year, probably for the next decade. It’s an enjoyable space to work in, and it provides consistent opportunities. Plus, I can create these films at a very low cost and collaborate with brilliant artists who are eager to have fun while making our art.

But that doesn’t mean I don’t want to make a big studio movie. I’d be thrilled if Disney, Paramount, Warner Brothers, or any major studio were to approach me with a project and a budget of 40 million. I’d be like, “Yes, please”. Or even 100 million. “Thank you, I’ll take it”. But I can’t control that situation, so I’ll continue to work in the space I can manage.

Let’s go back to Deadly Illusions. What were your main ideas regarding the visual style of the film?

I see making a movie as a song that flows, you know, with its ups and downs. It’s like composing music. When you start, you can’t leave until the song is over. So, how do you keep people engaged? I like to captivate you, draw you in, and hold your attention until the song ends. And then, suddenly, the song is over. To achieve that, I use a lot of music. I also employ a Steadicam. I was analyzing the latest 365 Days, and I noticed that nearly every shot in the film was on a Steadicam.

So, it’s just a style. In Blunt, we utilize the zoom lens, which was popular in the 70s and 80s. I love that the zoom is coming back. It’s a really fun tool.

Today critics talk about how much the politics of Fatal Attraction “is icky” (Allison P. Davis on Vulture). In your opinion, are films like Fatal Attraction, Indecent Proposal (Adrian Lyne, 1993), and Basic Instinct (Paul Verhoeven, 1992) really “unacceptable” today? Do we really need a feminist remake of Fatal Attraction (Paramount+, 2023)?

I do. It’s a great question. I love those classic thrillers. When I revisit them, I think that none of them would survive in a post-#MeToo world. There are some cringe-worthy scenes here and there, but I don’t blame them. They were products of their time. However, it’s striking to see the contrast in today’s environment. We’ve been through a pandemic, and the #MeToo movement happened. I believe these two factors have made it even more evident when you go back to those old thrillers. So, yes, I think it’s due for a remodel, and I’d be thrilled to be part of that, you know, to be part of the group pushing for change. I think there’s a lot of space for a lot of voices to be heard.

To read more on the thorough research and history of the noir thriller by Lorenzo Baldassari, read here.