Is Cages built upon a classical dramaturgy kind of play with three acts?
At the moment, I’m trying to take things step by step. So yes, I’m basing it on a classical dramaturgy, in the Greek tragedy style, for instance. And, as the director that I am, I start from these interior images so I can develop them as much as possible. My goal is to enter inside the character’s deepest realm. The originality of the film – at least I’m aiming at that – is found in the spectator identifying himself with the kidnapper. There are many films about kidnappings, but the viewer is never on the perpetrator’s side. The challenge for me here is to make the audience identify itself with the perpetrator rather than with the hostage. This interior that you mention, how does it translate in visual terms? There aren’t many fixed shots. The film is done with a lot of traveling or with the camera on the shoulder. It’s a wild film. It’s all about staying as close as possible to the character, to vibrate with the character. I slow down, speed up or blur the image. I want a warm and sen
