EYE 2 EYE: la lutte de l’amour-
Caroline Daily interview of Antoine Asseraf about “La Lutte de L’Amour” (The Struggle of Love), the SS2011 film he made for Erotokritos.
Caroline Daily: what is the first film which made an impression on you ?
Antoine Asseraf: The most striking memory for me is David Lynch’s Lost Highway.
It was my first Lynch, and the mix of glamour and goth, the changes in personality, the concept of looping, free intepretation, all left me without voice.
With David Lynch, there is always a staggering artistic direction, a mix of architecture, music, design and casting which create entirely novel worlds.
In a different register, there is also Danny Boyle’s Trainspotting, which left a mark because it’s such a violent film, but with an “english” type of violence – very different from the hollywood violence to which i had grown accustomed.00
For many years now I’ve had this image permanently burned into my retina, visions of a kids’ television show centering around a giant TV screen-cum-arena showing video games in which people would “dive”. But it seemed so ancient that I couldn’t really identify its source…
With the recent obsession with Tron, and the upcoming opening of the Gaîté Lyrique digital center in Paris (more on that later), this visual memory of mine has resurfaced…
The source: Pixifoly, a segment on TF1 channel’s “Vitamine” children’s show, which ran between 1983 and 1984.
For better context, imagine that Starcade, the first video-game related TV show premiered in the USA in 1981,
TRON was released in 1982, and the NES didn’t go west until 1986…
I was 4 years old when I saw PIXIFOLY, and yet it got stuck in my head.
The basic premise of PIXIFOLY was “TRON, for kids, in front of a live audience, every week.”
Every wednesday afternoon, an audience composed entirely of children would gather on the set with the show’s hosts, facing a giant screen set into the ground.
One of the hosts would step onto the screen and be immersed into a videogame world full of adventure.
Each episode used a different videogame, a real game made for the consoles of the times – Commodore 64, Spectrum ZX, Atari, etc. – and showed the hosts “playing” with it using a giant pogo joystick. But because at the times videogames were a bit of a marginal subject, especially for the number one public channel in France, videogaming was not the core of the show, just a cutting-edge way of mise-en-scène for a kids adventure show:
Not only were the credits one of the first 3D (“images de synthèse”) sequences at the time, but most of the show relied on the revolutionary Paintbox graphics postproduction system to mix live footage of the hosts with game footage. Space invaders, scuba diving, kung fu fighting, Aztec adventures — the video game was but a starting point on which the producers built their storylines, adding extra characters, costumes and props into the mix. The favorite trick would be to have the characters “fly” on top of flight simulator backdrop.
In a way, the video game was a cheap, ready-made set for the PIXIFOLY adventures.