Michael Douglas, the luminary behind some of the most scorching cinematic ventures of the '80s and '90s, possesses a rather straightforward recipe for igniting sensational s*x scenes on the silver screen.
In a recent discourse at the Cannes Film Festival, the accomplished actor, who has carved his niche in portraying ardor-fueled narratives, playfully dubbed himself a "maestro" in this domain.
Recollections of the meticulously orchestrated sequences that adorned his boldly risqué performance in "Basic Instinct," particularly his enthralling escapades alongside Sharon Stone, flooded his dialogue.
Revealing his expertise on the subject, he mused, "If I may divulge the clandestine wisdom — for I have inadvertently become a virtuoso in the realm of cinematic amorousness — it all commences with a rehearsal." His words revolved around the masterful opus helmed by Paul Verhoeven, a film that had its grand unveiling at the festival in 1992.
He expounded, drawing parallels with the choreography of combat scenes, "When choreographing a skirmish, one meticulously delineates the sequence of moves: a punch is thrown, a resounding impact follows, a step backward, and the dance ensues, a rhythmic interplay of actions." With a measured cadence, his voice echoed, "Such symphonic choreography is nurtured, starting in slow crescendos, culminating in a crescendo of intensity."
Intriguingly, this methodology extends to the composition of intimate interludes.
"In the same vein, and perhaps even more remarkably when crafting a scene of tenderness and passion, the preservation of mutual respect stands paramount," he asserted. A reflective nod toward groundbreaking films such as "Basic Instinct," as well as other titillating enigmas like "Fatal Attraction" (1987) and "Disclosure" (1994), underscored the intricate dynamics that thrived before the dawn of on-set intimacy orchestrators.
With an enduring bond shared with actor Catherine Zeta-Jones since the turn of the millennium, Douglas emphasized the establishment of boundaries prior to the commencement of shooting.
"As the overture to our shared artistic endeavor, we engage in a dialogue, sketching a map of each touch, every caress," he disclosed. "A mutual accord is reached: 'Here my hand shall reside,' a silent question, an unspoken agreement. The choreography evolves, akin to a pas de deux of emotion."
