Adrian Lyne Is Making Cinema Horny Again With ‘Deep Water’

We’re in a period of American where it’s often argued that eroticism in film seems to be on a decline. Do you agree?

Well, people say that stuff. I mean, I don’t really think too much about generalizations like that really. They always talk about eroticism like it’s a commodity or something. I think it’s just part of your relationship, part of my relationship. I’ve always liked movies that are about you or me, where the public can put their feet in the shoes of the actors and live a bizarre relationship through them, rather than their own. That’s what’s fun to me, really. I can appreciate Dune, or Matrix, or whatever, but I don’t particularly want to make them. I think it’s more fun when it’s close to home, and you’re seeing how much you can push people.

Is there a point, though, where it’s crazy to you to think that movies like Fatal Attraction or Flashdance were the biggest grossing hits of that year to nowadays, where it seems like the adult drama is being squeezed out of the mainstream?

I think it’s a pity, really. I mean, I would never now get the money I got—it wasn’t very expensive, but I wouldn’t get that sort of money to make Fatal Attraction now. I mean, I wouldn’t get it made [at all]], I’m sure I wouldn’t get it made.

I’ve seen you say elsewhere that it gets frustrating when the only takeaway from your films is the sex. What’s the takeaway that you’d rather viewers have?

I think the important thing is that they don’t forget it. The important thing is that they argue about it, disagree about it. I like making films where people disagree, because it creates discussion. For example, I did a film called Jacob’s Ladder. It’s the film I’m most proud of, I think. But it was a movie at the time when it came out, nobody understood a word of it. Now, it’s a movie that people talk about a lot, and there was a remake of it. It’s a movie actually that needed a couple of viewings to make you understand it, really. So, I love that. I like it when they haven’t forgotten your movie by dinner, and they’re still talking about it. They don’t have to agree, as long as it inspires discussion.

One filmmaker whose work I feel has a kinship with yours is Paul Verhoeven.

A lot of the films I like most were actually his European ones, his Dutch films. There’s a marvelous movie called Spetters, you should see that—funny title. I like his work. I like Paul Thomas Anderson a lot. I like this guy Sorrentino—Have you seen Hand of God? It’s the best movie of the year, really.

Jacob’s Ladder is the movie you’re most proud of, but is that your overall favorite movie of yours?

Yeah, maybe. I’m proud of this one, I have to say. I watched it a lot, and I don’t get tired of it. I like it because it’s complicated because you’re thrown around a little bit, I like it because it’s unusual.

Did this inspire you to ramp things up and make some more films soon?

Oh, yeah. I’ll have to do my next one a lot quicker than I did last time.


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