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The film is kinetically edited, but Boyle shot most of it in long takes, and in one of them he pushed Franco further than he’d ever gone as an actor. In that movie, directed by Danny Boyle, Franco plays an outdoorsman who’s trapped in a cave when an immovable boulder pins his arm days later, after enduring starvation and dehydration, he must cut off that arm to survive. The same year that Franco played himself on 30 Rock, for example, he was still able to disappear into his Oscar-nominated role in 127 Hours, and it’s that film he thought of most while making Kink. In that way, too, it’s like Hollywood, where a performer like Franco will bring his own baggage to the roles he’s cast in and the audience inherently knows that he’s playing a part, yet the hope is that all that fakery can still produce something that feels authentic. And so, in some ways, these are choreographed like action scenes, but they’re more like art pieces, endurance tests where these performers are actually feeling pain.” “Nobody would go to a porn to find good quote-unquote acting, but when they go to this kind of porn, in fact they want a certain kind of authenticity of feeling. “With this kind of material, the audience is very aware of authentic pain, and they can tell when people are faking it,” says Franco. In other words, these BDSM sex scenes are more about the journey than the destination, and no matter how much artifice goes into the onscreen situations, viewers are searching them for something real. I can safely say that before I made this movie, I never concerned myself with the craft of pornography, and now that’s probably the first thing I think about.”Īll that craft, though, is in the pursuit of something all-too-real on, where the traditional porn climax is essentially superseded by the long-term endurance of pain. Once you watch a porn and find yourself thinking, ‘Oh, I wonder how many shoots that person has done this week?’ it sort of changes your approach to the whole thing.
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“It’s like when I started in film school,” says Voros, “and suddenly all the mysteries were revealed of how shots were done and where lights were placed, and I knew there was always a guy standing in the corner holding a boom pole. The result is a documentary that, in Voros’s words, “desensationalizes something that’s inherently sensational.”
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“As somebody who works in filmmaking and works in this collaborative kind of way, it was so interesting to watch other people doing something that was so similar, even though it ends up with a completely different product.” “That’s what was initially so fascinating to me,” says Franco, who produced Kink. If there weren’t electronic dildos just out of frame, you could almost mistake those interactions for the kind of on-set powwows that take place on a regular Hollywood film. In front of the camera, performers are flogged, punched, and humiliated, but Voros’s camera captures the easygoing creative meetings where those scenes are concocted and the mundane reality of the directors negotiating with their performers on what to shoot.
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Most actors would spend their twilight hours heading to bed or studying the next day’s script pages, but the idea of rest is almost anathema to a compulsive multitasker like Franco, who’s instead taken that free time to call up Vulture to discuss pornography - specifically, the sadomasochistic kind.įranco’s latest project, Kink, is steeped in the subject: Directed by Christina Voros, a cinematographer who’s shot many of Franco’s low-budget indies, the movie is a behind-the-scenes look at, a porn website that specializes in rough trade. It’s after midnight, and he’s just wrapped a long shoot on the indie Michael, where he stars as an ex-gay activist struggling with his sexuality.