Interview with Pierre: “It’s not a coincidence if we call the after sex “la petite mort””

Photo by Renaud Duc

First of all, wow! It seems everyone really enjoyed Call Me a Ghost. I’m amazed by the feedback guys, seriously. If you haven’t seen it yet, check it out here.

I want to introduce you to Pierre, the performer who plays the mysterious ghost from CMAG. Pierre is a French actor and amazing model who have become a dear friend to me.

His gift for eroticism isn’t an everyday thing (if you watched the film then you know what I’m saying). He has the voice, the presence, the body. But more than that – and that’s what you should know- he’s wise and creative, and his insights were super inspiring for me as a director. His performance with Valentin Braun is a consistent part of Call Me a Ghost’s success.

A few days ago, we published Valentin’s interview on his thoughts about pornography and sadness (read it here). Today it’s time for us to know more about Pierre’s life and what he thinks of porn, cinema, and working in Call Me a Ghost 🙂


Can you introduce yourself to us?

Hi! My name is Pierre Emö. I’m french and 26. I moved from Paris to Berlin last summer. As the situation in France has become quite disenchanted – and the worst seems yet to come, I was evidently appealed by Berlin’s inspiring sense of freedom and tolerance. I received a catholic education and discovered quite young that I had to go beyond the imposed boundaries by my education. It has always been a game, an ideology, and later on, a foundation of my personality.

Then, I’ve been a cinema lover for all my life, as well, and this has been my professional background so far. My taste in films are the same. I like a type of cinema that is radical, blended and that pushes boundaries as well.

What’s your history with porn?

I’m quite new in porn. So far, I essentially worked with independent photographers and filmmakers, and intend to keep it this way. I’m not trying to get into mainstream companies where I could feel that pornography would be too standardized. I like not to go on the path straight ahead. It’s a bit less productive, of course, but so far, it has always been the way I found my position in life, off the beaten track. I wanna stay off anything that might look like an industry.

What do you like the most, and hate the most, about gay pornography?

What I hate about porn is that it became – as everything – part of consumerist culture. I love the idea of a pornography that would be aesthetic, political, ideological and still, enjoyable as fuck. I’d like to feel more free to think, admire and wank at the same time. I’m still looking for an equivalent of Marquis de Sade in contemporary pornography.

Otherwise, I don’t have much problem with anything in pornography itself. I believe that there’s an audience for anything, that all the tastes and fetishes are part of nature. They deserve to exist and to be able to build their own community, in the respect of the external world that might not share them. It goes without saying that on the other side, I’m expecting the external world to tolerate this difference of fetish and lifestyle.

Photo by Chris Philips

What do you think about the blending of art & pornography? Are there special cares to take into consideration?

I believe art has always been, and especially nowadays, an amount of references, personal, cultural, artistic put together by an artist in his work. Meanwhile pornography is somehow considered as something that is not pure either honorable by a lot of people, I believe it’s urgent to reconsider this situation, and that’s what a few people are already doing at the moment. And they’re actually very stimulating people.

You’re the star in Call Me a Ghost. How was the experience of working with Noel?

Working with Noel was a bless. He has an extreme and precious care for his actors. He knows how to shape them into their characters. He watched my performance in

While the Unicorn is watching me” by Shanti Masud, a short movie that’s an homage to vintage porn and experimental directors such as Kenneth Anger or Derek Jarman, and immediately understood my inspirations in matter of eroticism. That’s a bit how he had the idea of the character of the ghost of the vintage porn actor.

Noel really takes actors into consideration. It’s very flattering to realize that you directly inspired someone’s work. As I know as well that the character of Valentin could not have been written for someone else either, cause the complexity of feelings of his character was directly inspired by Valentin’s deep and mysterious gaze. We could almost say that this approach is the same as for a documentary.

Photo by Melanie Ziggel

For you, is there a convergence point between sadness and sex? If so, what is it?

Of course. It’s not a coincidence if we call the after sex sensation “la petite mort“. There’s a part of sadness in it, as there is a great part of ecstasy in making love, having sex, fucking. But not only sadness. Sex is the greatest mystery of human being, it’s everything. It’s exhilarating, it’s obsessive, it’s pathetic, it’s anything you might put in it. Sex is according to me the redemption of all passions – with all the ambiguity that those two words can contain.

Is there a film you like especially within Noel’s filmography?

More than the films themselves, it’s Noel’s sense of cinema that impresses me. I like his sense of detail. For example when the character in “The Cable Guy” finds the bottle of orange juice and, from this very common object, his mind gets into a fantasy about the cable guy who forgot it. It is pure genius to me. It’s super sensitive. Details in Noel’s films carries something. It might be emotion, melancholy, dream or whatever. The universe of each movie is build into a significant line.

I would say I prefer “Call me a Ghost” cause even though I knew a lot about the film and pictured it in my head so many times before I saw it, when I did, the movie remained a surprise. I believe this film is a step further in Noel’s filmography. The narrative is more ambiguous, the editing is more abstract. It’s the most ambitious of his work.

A few years ago you worked in While the unicorn is watching me, a delightful homage to vintage porn. What are for you the favorite aspects of experimenting with eroticism? What would you say is missing from contemporary porn?

I’m quite fond of vintage porn from the 70’s. I feel like at the time, people in porn were as naive (in the best definition of the word) as fearless. Films like “Bijou” by Wakefield Poole which dares porn in such a baroque vision totally impressed me. Last but not least, the soundtrack contains Igor Stravinsky. How odd. How unexpected. How daring. I’m not trying to say that it was better before, but we all know that society evolves in trends, where everything’s that fresh and new will end up standardized. And for now, I feel like porn sorely lacks of a sense of unexpected and creativity.

We have to break this boredom and propose some alternative porn. It does not have to be new, but it has to push on the present margins. That what Noel does. He’s absolutely not afraid of being on the edge of art house drama, precious romance and explicit porn. And still, he does not belong to any of those categories… His films are the synthesis of them.

Still from Call me a Ghost

You can follow Pierre on Tumblr, Instagram and Facebook!

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