Interviews and conversations with filmmakers worldwide.
Interview by Michèle Collery, Mina Blumenfield and Mónica Delgado
Only rockers love poetry and literature – sometimes you wonder! We speak about rock and roll, I told him that I want to make a film of the classic punk age, haunted by Arthur Craven, the boxer, who traumatized Breton, who also was Oscar Wilde’s nephews . And it all melt between The Clash, the Sex Pistols, Vince Taylor, Arthur Cravan: it all enchanted Strummer. We had drank champagne in a pizzeria and I don’t know what and then he said “Now, we go to the pub.” So here we are, ordered in speed, the producer drank vodka on the rocks, I was gin and tonic, 3 or 4, I don’t remember what he took -we had to ordered fast because they didn’t served after that – thus, we each had our 3 or 4 glasses, we play darts and he says “Ok Ossang, I’ll do your movie!”
By Mónica Delgado
Davide Manuli (Milan, 1967) might be best known for his last escapade into Rotterdam with “La Leggenda di Gaspar Hauser”, a very particular retake on the classic myth carried to the big screen by Werner Herzog, but this Italian filmmaker has been around since the late eighties’ struggling to find (and finally succeeding) a new narrative in cinema, which responds to the absurd and the warm embrace of dance music as means of communication.
By John A. Riley and Mónica Delgado
“I’d like to shoot a different ending for Sid and Nancy, too. But I’m less fond of that film. Straight to Hell was always one of my favourites and revisiting it, playing around with it, making it more bloodthirsty and giving it a different colour treatment and more skeletons and reinserting the deleted scenes… it was a real treat”.
By José Sarmiento Hinojosa
“Yes, the white disease is eating us everyday. Time is changing everything, everything disappears and fades and it’s ok, that’s life… The question is more to be aware of what we are loosing and what we are getting new. Our spirituality is changing super quickly, even in just one generation. I think cinema has a lot to do with that question of time, because this medium deals mostly with memory”.
By José Sarmiento Hinojosa
“Sibérie is one of the main characters of the film for all the reasons you describe. It’s like a mirror with of the raw and honest meditation of love, it’s a perfect décor for this “triste geographie des sentiments”, and the train helped us to have this kind of lonely feelings, increased by our “huis clos” inside the Trans cabin, in front of the big window, on the exterior as a big travelling shot with the immensity rugged inhabited landscapes”.
By Jan Philippe V. Carpio
It’s a great time for filmmaking again. You can articulate things again through cinematography. Before, with the advent of the Panasonic DVX and the P2, the lens is steady, you can’t change things unless you go for lens adapters. This time it’s free for all. The companies are coming out with great cameras. It’s a revolution. It’s up to you how you use them.
By Max J. Pell
Moniek Toebosch (Breda, 19 august 1948), the famous Frans Zwartjes diva, is the daughter of classical composer Louis Toebosch. A Dutch performance artist and actress, Toebosch has been working as a professor and giving workshops in her foreign country for over 40 years. She was director of Dasarts theatre of the AHK (Amsterdam College of Arts) from 2004 to 2008. Here, Max J. Pell, from Texas, shares pieces of his correspondence with her.
By Mónica Delgado
Thunska Pansittivorakul was born in Bangkok in 1973. His films have been screened at over 100 international film festivals, including Berlinale, International Film Festival Rotterdam and the Hong Kong International Film Festival. His documentary ‘Happy Berry’ won the Grand Prize award at The 4th Taiwan International Documentary Festival 2004. ‘Heartbreak Pavilion’ won the Top Award from Pusan Promotion Plan (PPP) at The 10th Pusan International Film Festival 2005.
By Mónica Delgado, Narda Liotine, José Sarmiento Hinojosa
Bill Morrison (Chicago, 1965) is one of the most important experimental filmmakers today, especially in the found footage vein. His first full-length feature Decasia (2002) became a milestone in this style of experimental cinema, not only for his use of special techniques in the celluloid format, but also for becoming an inspiration for future works. Decasia dwells in exploring film decay, the decomposition of the image medium, a decayed body that has something to show still. Talking about this and other works, Bill Morrison answers some questions from our staff.