One of the other major characters in "Holy Motors" is, of course, the city of Paris itself. And while it occasionally takes on the dreamily romantic version seen in Woody Allen's "Midnight in Paris," Carax seems reluctant to embrace that slant. Instead, he's pretty fed up with the famed City Of Lights. "The last twenty years I've tried to make all my projects away from France. But I've only made one film in Tokyo," Carax explained, the frustration evident in his speech. "I kind of hate Paris. After my other films fell through, I knew that to make a film fast I would have to shoot in Paris on digital." The act of making "Holy Motors" renewed his interest in the city. Sort of. "Actually I rediscovered Paris a bit while shooting this film," Carax added. "I still like bridges in Paris. That's about it."
At one point Taubin brought up the fact that "Holy Motors" could be read as a kind of love letter but also an obituary to traditional cinema, or, in her words: "an act of celebration and mourning." Carax, unsurprisingly, had some profound thoughts. "It's a miracle cinema exists. It's a miracle it was invented," Carax said, sounding awestruck. "The primitive power of cinema had to deal with this huge machine, three cameras at a time. I still think, when a camera would follow a man, you had the feeling that it was god watching him. If you had the same shot today on YouTube, you won't have this feeling. But that's okay. Cinema has always had to reinvent itself to find that power again."
"Holy Motors" opens in New York on October 17th, and begins to expaned nationally on November 9th and 11th.