A film about the pleasures of lust?
Sounds like a dream.
It’s a fantasy that has taken on a life of its own and become one of the most-beloved franchises in cinema history.
But this is not a film about lust.
Instead, Lust is a love story about lust, the power and passion of desire and the ways in which our minds and bodies can and do hurt each other.
And so this is the tale of how two filmmakers, brothers Michael and Richard Jones, decided to make this dream a reality.
Michael Jones’ first passion was making a love film.
He had an idea about a story about two young lovers in love, but the story was not quite right.
“The problem was the characters and the plot, which were all about men and love,” he says.
“I thought I’d take this one step further, and make a movie about love that was about men, about passion and love.”
They approached an agent and began a process of making a film, and then a script.
“They told us it was going to be an adaptation of a book of the same name by David Mitchell,” says Jones.
“So we thought, what’s the book about?
I wrote it down, and they said, it’s a story of two men who meet and fall in love.
We were blown away.
I thought it would be really interesting.
It was a story that I’ve always wanted to tell.”
Michael Jones and Richard were also fascinated by a novel by James Joyce called The Dubliners, about a young couple in the 1930s who fall in with a rich man, and end up in a marriage.
They approached the author, who suggested they try and make the movie themselves.
Richard Jones and Michael Jones had no experience making films.
“We didn’t know how to do it,” says Michael.
“Richard had been working on an independent film for two years, so we weren’t familiar with the technical side of film making.
But we had a lot of experience working on short films, so the next thing we did was put together a team of actors, and we started shooting on location in London.”
They made a short film called The Lark, in which they played the role of the lovers and the two men in love (it was also the story of a married couple who fell in love and were unable to break their vows).
The idea of making Lust into a feature film, however, was too daunting to pass up.
“It was a long way away from being a feature,” says Richard.
“And it was difficult for the producers to work with us because of the story.
So we were very conscious that if we made the movie, we would have to take the risk of making it and not make it good.”
The script The first time they met was at the London premiere of the Lust film in 2000.
The film was being screened on a small screen at the Royal Albert Hall and the pair got to know each other very well.
Richard was an actor, Michael an actress, and the first time he saw them together, he realised they had something in common.
“He was a bit shy,” says Thomas Leekes, who plays the lark in the film.
The two then met in London, and Richard told his director about their passion. “
As we walked down the aisle, he said, ‘Oh, my God, we’re going to have to do this.'”
The two then met in London, and Richard told his director about their passion.
“You’re going into a production of this magnitude and there’s a lot going on, so you don’t want to be a distraction,” says Leekis.
“There’s no time to think about the film and I’m quite relaxed.
I don’t need to be bothered with the script.
I can just be Michael and he can be Richard.”
The process of getting the script The producers initially contacted the production company, but they had no idea what to expect from them.
“Michael was a little bit nervous,” says producer-director Robert Paine.
“When he saw us in person, I just assumed he was going for the script and was going, ‘It’s going to suck.
I have no idea if it’s going.
I’ll give you an outline, but we’re not going to get any money.’
But he was really keen, and he had some great ideas for the plot.
The script was very, very simple, and very straight-forward.”
The producers knew the film was a dream, but it was not clear whether they wanted to direct it or produce it.
“What they were looking for was something that would feel like a film,” says Paine, “that had a certain feel to it.
And they wanted it to feel like they were putting the film out there and that they weren’t going to hold it back.”
So the production team met with Michael, and their first meeting