Amy Hesketh was kind enough to grant me another interview about her movie Le Marquis De La Croix.
Where did the idea for this film come from?
I had wanted to make a film about the Marquis de Sade for some time, we still had time left on the lease of the set we used for Maleficarum, and I realized we could make another movie, a simpler story, about a sadistic Marquis in prison. The set was underground, in a basement essentially, and the neighboring shops didn't seem to mind the screams from shooting Maleficarum, so we figured we'd just go for it!
You seem to have taken a page from the book of Roger Corman by using some of the same props and sets from
Maleficarum. Does Corman influence your work at all and if so how?
Corman's practice, like Hammer Films, of re-using sets and costumes and having a corps of actors is great. I like to do that. Working with a group of actors is fantastic because you know what they can do, and there's a trust that builds, which is great for everyone. Re-using sets, costumes, and props saves money and time. It's not hard to design a set with a few common elements. Hey, even Hollywood does it, they'll take a costume that was worn by a lead role and you'll see it in another film on someone with a supporting role or an extra. It's just a good practice economically and environmentally. Recycling, hooray!
The movie focuses more on the character Mila plays than anything else, at least that is how I see it. Was that
your intent?
Yes, I wanted the focus to be on her suffering, and the perspectives of that suffering, the Marquis', the gypsy Zinga's, and the audience's, who is watching the movie. In the Marquis de Sade's writings, the focus is more on the victim (as well as long postulations on society), so I wanted to honor that focus.
The ending is remined me of many Twilight Zone episodes. Why did you add that kind of ending?
I thought it would be fun, and dovetail the ending to the beginning. I loved the Twilight Zone when I was a kid, but aside from that I thought the ending would lighten up the atmosphere a bit after watching all of that suffering and violence. The movies needed that little dose of "camp".
Is it fair to compair Mila to the late Lina Romay as far as her working with you? She is your muse as Lina was to Jess Franco?
Mila is really great to work with. We've built up a solid trust working on several films together. Veronica Paintoux is more of a muse to me, I find her fascinating as an actress and a person.
What other projects are you working on?
Right now, we're entering into pre-production for my next movie as director (and actress), Olalla, based on the story by Robert Louis Stevenson. It's essentially about a family of (genetic) vampires. There's all kinds of spicy stuff in there, incest, violence, etc.
Do you think Mila would ever grant an interview on this blog? (if you don't mind me asking)
I suppose she would if you asked the questions in Spanish (or through translation). She's never done a written interview, only on TV, but I don't see why not. :)
How did this film do for you as far as being a box office success?
It's doing pretty well. It's a film with a special interest. If you like the writings of the Marquis de Sade, you're probably going to like this movie.
Any parting words to the people that look at this blog?
Just that we couldn't be doing what we're doing without all of the people who support us, this blog, other blogs, and our public, who buy our movies and send us wonderful, supportive emails, telling us how much they love our movies! We're growing because of all of that support.
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