ATOM EGOYAN said that he’s been inundated by sex thriller screenplays since directing the sensual film CHLOE, which was the first time he’s helmed a movie he hasn’t written.

“I’m reading through the inevitable two sex thrillers a day I get sent from my agent in L.A. because now I’m the guy who does that type of (film),” ATOM remarked in a recent interview.

“Which is just disheartening in a way…because they’re all terrible. But I’m writing.”

CHLOE was scripted by Erin Cressida Wilson and is based on the 2003 French film NATHALIE.

It centres on the marital insecurities of a successful doctor, portrayed by JULIANNE MOORE, who suspects her husband of cheating and hires an escort named Chloe – played by AMANDA SEYFRIED – to test his fidelity.

It’s not long before a mysteriously powerful and sultry relationship unfolds between the two women, leading to a hotel room tryst and a violent conclusion.

Salacious elements aside, ATOM feels strongly that this tale of infidelity, deceit and obsession possesses a depth that sets it apart from other sex thrillers.

“And yet the scripts I get from that system, like I say, are not very interesting to me. They don’t have the psychological complexity of a script like Chloe did.”

Still, the Toronto based auteur admits there may be a prurient appeal to CHLOE that bodes well for its search for a new audience on DVD.

“It’s in some ways, I think, a film that might be even better viewed in private,” he laughingly commented.

“For various reasons.”

CHLOE was generally regarded as ATOM’S most accessible work yet. He ascribes that in large part to its linear storyline, something that he says runs counter to his own instincts as a writer.

Nevertheless, he is attempting a more straight ahead progression on his latest script.

“I’m a writing a thriller, a psychological thriller. And I’m trying to keep it more linear but we’ll see how that works.”

“I’m very aware of the fact that if you want to get a certain type of funding then the story has to be more accessible and I’m trying to wrestle with that issue, because I know I can make films in a certain way and that’s been really gratifying for me. But it’s also nice to story tell or create a story like Chloe, which is able to be accessible to a wider public. The question as always is: How do you do that without compromising your own voice?”

Amid this question, ATOM is also working on several other projects.

They include the media installation 8½ SCREENS to celebrate the opening of the TIFF BELL LIGHTBOX (the new home of THE TORONTO INTERNATIONAL FILM FESTIVAL) on SEPTEMBER 12.

And he’s reworking SALOME for THE CANADIAN OPERA COMPANY, roughly 15 years after mounting a modernized take on the Richard Strauss opera. The new version is being prepared for 2012.

“That production was very much concerned with the technology of that time and the way surveillance was sort of working in society at that moment. But I think that it’s been so radically altered so there’s a way of talking about that.”

CHLOE hits DVD tomorrow.


  1. “I’m a writing a thriller, a psychological thriller. And I’m trying to keep it more linear but we’ll see how that works.”

    please. linear.

    there’s too much linear out there. hell, that’s all there is… 😦

  2. You’re back, baby!!! Hell yeah…

    Yes, my darling boy. There’s a lot of linear out there. Too much, I fear.

    But that’s *ahem* what generally sells. Unfortunately.

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