Two renowned Hollywood actresses recently disclosed feeling akin to prostitutes while engaging in a challenging filming session that required them to fake orgasms continuously for an exhausting six-hour stretch.

Léa Seydoux and Adèle Exarchopoulos shared the screen in the acclaimed 2013 French film Blue is the Warmest Colour, which captivated audiences worldwide.

The movie showcased a memorable 10-minute intimate scene, meticulously crafted over a ten-day period.

The arduous task of portraying simulated intimacy was particularly demanding for Seydoux, who had to feign climax for an extended six-hour duration, closely monitored by director Abdellatif Kechiche.

Seydoux candidly expressed her feelings, admitting, “At times, it felt humiliating, almost as if I were selling myself.”

Discussing the intense filming process, Seydoux revealed, “The director utilized three cameras, and persistently demanded multiple takes of the fake orgasm scenes…

Enduring that for six hours was no easy feat.

Personally, delving into emotional vulnerability proved more challenging than portraying physical intimacy.”

In a candid interview with the Daily Beast, Adèle Exarchopoulos emphasized the director’s unwavering commitment to capturing raw authenticity on screen.

She remarked, “Kechiche pushed us to our limits, urging us to delve deeper than most directors would dare.

Unlike conventional setups where s** scenes are carefully choreographed, here we felt exposed and vulnerable throughout.”

Reflecting on the power dynamics within French cinema, Seydoux highlighted the director’s authority over actors, emphasizing the contractual obligations that often leave performers feeling confined and compelled to surrender fully to their roles.

While both actresses declined to enact explicit acts on set, they resorted to using prosthetic body parts to maintain modesty and preserve personal boundaries.

Adèle humorously quipped in an interview with GQ, “Contrary to popular belief, what you see on screen isn’t always a true reflection of reality.

When you die in a movie, you don’t actually die in real life!”

Sharing further insights with The Independent, Seydoux elaborated on the challenges of shooting intimate scenes, referring to them as uncomfortable and demanding experiences that necessitated detachment from their own bodies.

Despite setting initial limitations at the onset of filming, such as abstaining from real cigarettes and concealing their identities, the actresses found themselves under increasing pressure to fully commit to the demanding shoot or face potential dismissal from the project.

The prolonged filming schedule, spanning over five and a half months, elicited a sense of uncertainty for the stars as Kechiche continuously extended production timelines, disrupting their personal lives and routines.

Looking back on her involvement in the project, Seydoux reflected on her desire to explore artistic boundaries and push her limits, unaware of the director’s meticulous and exhaustive approach to perfecting each scene, which sometimes entailed hundreds of retakes.

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