A lot's been talked about the visual aspect of the film, but the audio side is also fascinating. It reminds me -- and I know you used Coil on the soundtrack -- of John Balance's Time Machines project, in that there's this throbbing, pulsating stereo effect that --
You know the band Coil? He [the band's late founding member John Balance] did an album called Time Machines --
I don't know that record. I used another one called ANS, where he used a Russian synthesiser. And I met him [he means Peter Christopherson], he came to Paris and not only did he give me the rights to use that record ANS, but he also called his ex-partners in Throbbing Gristle and said, "Gaspar wants to put Hamburger Lady in a scene of his movie." And he convinced the other partners in Throbbing Gristle to let me use the music for my film.
His music for Coil and Throbbing Gristle was trippy. Sometimes just a drum can put you in a hypnotic state, and there aren't many musicians that play with drums and frequencies that can hypnotise you, and put you in a dream state.
How important do you think the audio is in achieving that, with the strobing and pulsating that you have all the way through? It almost creates an altered state in itself.
Whatever helps to make the audience feel stoned was good. [laughs]
In fact, some people, when they came out of a screening, because there are no end credits, said it was just like being on a rollercoaster. And it's like zoom! And whoosh! And people come down shaking from the screening room, and say "what a trip!" and it takes them five minutes or so before they say anything else!
Gaspar Noe, interviewed in 2010.