Tuesday, 23 July 2019

Interview with filmmaker Sergio Hdez

Nubes De Carton will be screening at the Straight-Jacket Guerrilla Film Festival

*How did you get into making films? 
It was when I was 18, first to unfortunate shorts but with a lot of love, then I made video clips, then scripts and finally, with a lot of help and with a great team with a lot of madness, we made our great movie. 

*What inspired you to make your movie? 
I have not been inspired by anything in particular, after a brainstorm of individual ideas, I thought that CARDBOARD CLOUDS, and a topic as close and social as poverty, could have a lot of strength and impact. 

*How has your style evolved? 
My style never for evolution and change, because it has helped me to read, own experiences and watch other movies. But without a doubt, my style has evolved, because my old works were very "bad" and the last ones have a great quality. 

*Tell us any strange or funny stories while making the film? 
Our main actor, was disguised as a beggar, several times he was unfortunately stopped by the police, for sneaking into the subway etc, and people in the recording breaks, gave him money, thinking he was real. 

*The Misrule Film Movement & Pink8 manifesto bring what to mind? 
It brings us to mind, freedom, struggle, resistance, learning and above all, art. 

*What can we expect from your next film? 
From this movie you can expect the best, get excited and entertain. And from our next movie, we hope to have money and help to make it, and win the Oscars, Bafta Goya, the Golden Ball and the NBA ring awards

Interview with filmmaker Harish Gokul

The Truth & Chennai Diaries will be screening at Straight-Jacket Guerrilla Film Festival

*How did you get into making films? 
Passion for writing drove me into making films 

*What inspired you to make your movie? 
The biggest inspiration is real life incidents happening around us 

*How has your style evolved? 
Every story has its own genre. Style depends upon your budget and cast 

*Tell us any strange or funny stories while making the film? 
Every film is an experience to be frank. Since we work on horse shoe budget we always have lot of strange and funny things pilling around us always. 

*The Misrule Film Movement & Pink8 manifesto bring what to mind? 
Opportunity to new film makers. 

*What can we expect from your next film? 
Previous works have been festival oriented. This time its going to be completely fun oriented watchable for all ages

Interview with filmmaker JUAN FRANCISCO OTAÑO

Rebobinado will be screening at the Straight-Jacket Guerrilla Film Festival

*How did you get into making films?
When I was a child I was always attracted to storytelling, listening to story's in a camp bonfire, there is something about the story's and the fire, the light, something ancestral of the human being. I grow up viewing films and series of 80s 90s, comedy and adventure moves are the best for me. I remember that in my English class we had a class book for learning that had a comic inside with a story. When I had to read it in class y made the character voices and the sounds, mi class mates love it, then I realized the power of story telling. In my teenage years a TV series came out in Argentina “los simuladores” I guess one of the best series ever. I understood that I can make something like that in Argentina. Later I studied filmmaking in the University of Buenos Aires.  

*What inspired you to make your movie?
The idea that inspire me to do the movie was, that something that you made in the past wrong like don’t made a goal in the football match or don’t kiss the girl you liked for being coward do you have a second chance, like in a video game that you do a save and load. My personal life made of inspiration for the character, my Love failures and the 30 years old crisis. I want a protagonist bound to the past that is stubborn and naif, that don´t stop of making mistakes to learn and overcome his failures

*How has your style evolved?
My style is eclectic, I like filmmakers like Kurosawa, Spielberg, Guillermo Del Toro, and Sergio Leone. But also like the dynamic of the videoclips and series I was strongly inspired in 80 y 90s movies and series. Malcolm In The Middle, Sabrina the teenage witch, Parker Lewis, Bill and Ted, 3 o clock high, Ground hog day, Indiana Jones, But also Pan´s Labyrinth, The good the bad and the ugly and 7 Samurais. My style y called “ninja” it´s to do the things with the things you can get. In Argentina we have a phrase about this “tie it with wire”, its like do it with you have

*Tell us any strange or funny stories while making the film?
 Well, my department was a deposit for the film equipment and also one of the most important locations of the movie (the protagonist apartment). The department was very small and uncomfortable for shooting. My neighbour was a crazy old woman that didn’t like at all that we shoot there. The first day of shooting of the movie she made a hassle with the administrator of the building, I heard she talking in the hall of the building and I ran. We have a very angry discussion

*The Misrule Film Movement & Pink8 manifesto bring what to mind?
I read the Pink8 manifesto and I like it, But its not my style to film a move. I really love to see a movie film using that manifiesto. I think there are and interest point there, the idea of don’t want to please the mainstream its very important. In Argentina there is a great cultural movement of this kind of movies, there is a festival called “Buenos Aires Rojo Sangre” that join the filmmakers of a different kind of movies (not mainstream), independent movies and genre movies with viewers of this movies. This year this festival celebrates 20 years. The concept of don’t depend on big companies to do movies is GREAT

*What can we expect from your next film?
Mi next movie is going to be a fantastic film. I have several projects. One is about Tango in the 40s in Buenos Aires, Knife, treason, love and death. The other one is about a City without trees and then some children found the last trees. Its more family movie more like “Goonies”

Sunday, 21 July 2019

Interview with filmmaker Alan García

Enter The Deep will be screening at the Straight-Jacket Guerrilla Film Festival

*How did you get into making films? 
From a very young age I always felt attracted to the movies, my sister took me to the vhs video centers to rent movies, it seemed that I was entering Disneyland I was excited to see the covers and all kinds of movies. I decided that I would make films when I grew up, so I dedicated myself to studying film, when I was in the race I was writing Short Films and music videos, then they started inviting me to make movies, then I dedicated myself to audiovisual production. 

*What inspired you to make your movie? 
The stories feel more real and connect with the public when the filmmaker has lived part of the stories or had related experiences, the film emerged from a 12-page short film script, a task at school that accidentally became a feature film , a colleague convinced me to dust off the script I had written since 2014, the rest is history. 

*How has your style evolved? 
I am very jealous with my work, when I write a script I visualize it in such detail that I like to have total control of the story, apart from doing the direction I also need to take the picture, capture what is in my mind of that This is a solid and satisfactory result for what I want to do, I could afford to say that the film was 90% as I had imagined it from the beginning. The fact of reducing the crew means that I have a more accurate vision and I don't like having more people than necessary, if I have the capacity to do what I can, I will do it.

*Tell us any strange or funny stories while making the film? 
Thank you for asking that question, you have the exclusive to publish it, on the scene when Adrian wakes up in the vacant lot, in the makeup work he had to be full of marks and violence on his body, he was naked, a tramp who came out out of nowhere he was in the shooting, out of nowhere he approached the scene and began to take pictures despite warning him to leave ignored. The next day an anonymous complaint came out that someone had seen a naked dead man lying. 

*The Misrule Film Movement & Pink8 manifesto bring what to mind? 
Really the cinema was made to break the rules, there is no other means with more creative freedom than the cinema. The true spirit of the artist is based on doing things without worrying about the rules, always the content, the feeling of speech is the main thing. 

*What can we expect from your next film?
It is difficult to talk about what will be the next film under my direction, there are some projects that are there, but something is certain the next will be a film of social awareness with a deep subtext, the goal is to change the world view on a personal level .

Interview with filmmaker Julian Reboratti

Montecastro will be screening at the Straight-Jacket Guerrilla Film Festival

*How did you get into making films?
I am a multidisciplinary artist who investigates, produces and works for more than three decades in different aspects of the world of art (mainly in the plastic arts and in cinema) in constant collaboration with different professionals, artists, intellectuals and students in an exchange and enrichment mutual to carry out collaborative projects that otherwise could not be possible outside the system, such as the production of independent fiction films, documentaries, music video clips, theater plays and other artistic-social experiments.
After several years of frustrated truncated film projects, which were mostly abandoned in the bureaucratic and eternal cobwebs of INCAA, other state institutions and private producers, I decided in 2009, to start making my film projects completely independent and with the resources available, both at a human level and at a technical level, with the primary objective of being able to do them and also to be able to learn something in the process.
That same year I was able to make my first medium length film: "Novo Citizen", then in 2010 I made a short film called "Moondust" and in the year 2011 he made another medium length film "Debut and Farewell", which were small projects but of a great personal learning and that had their independent and non-commercial premiere in the country and that also participated in some international festivals.

*What inspired you to make your movie and how has your style evolved?
After a while, in 2017, I was finally and always with my own resources to shoot my first experimental film called "Montecastro" a dramatic comedy that explores new social, cultural, family and racial relationships in this great Latin city of the 21st century, which is the city of Buenos Aires and which describes the lives of several dissimilar inhabitants of a neighborhood on the periphery of the city. city during two hot and hellish Christmas days and the spiral of violence that, irrepressibly and inevitably, will be generated among them all. His Sound Band included the participation of Las
Pelotas, Kevin Johansen, Miss Bolivia and Los Heladeros del Tiempo, (among others), reflecting the spirit of this era and which the film tries to present in a sincere and direct manner.
"Montecastro", filmed in three days and with a total budget of 3 thousand dollars, had its premiere in the Argentina National Library and a very good recognition in many independent international film festivals, which allows it to be seen in more from 25 countries!

Tell us any strange or funny stories while making the film?

The pure truth is that everything was very fun during the filming of this film and that is exactly what I think one of them primary objectives to do this type of projects: have fun, have fun and re-believe in one's profession and what one does . Recover the joy of working in what one likes.
Such is the case that during the shoot I laughed so much that I was afraid that something would happen to me and we joked with that: the first director not to die of stress but of laughter! ... I think that is the main message here.

-During the three days of filming we spent 9 thousand pesos on beer of a total of 150 thousand pesos as total budget!

-The people of the neighborhood where we filmed the scenes of Don Carlos really believed that there was someone famous and dangerous that day in the neighborhood that day!

The Misrule Film Movement & Pink8 manifesto bring what to mind?

''Film school is poison'' Which I totally agree with. When they ask me what to study to work in the cinema or television business, I always tell them to study anything less than cinema or tv, because the important thing is the inside their heads and the culture education. That will make the difference then. I tell them to study philosophy, history or anything else but to form them intellectually and critically as contemporary individuals.
This does not apply to people who want to develop technically within the medium of cinema for which it is essential to study and to be contemporary to the changes of the industry and technological advances.

*Look for street superstars to be your cast.
In my projects I always use common people and not actors because I believe that the realism they bring, is impossible to achieve with a pre-written script. I always maintain that a dialogue between ordinary people is much more credible than a dialogue between actors with hours and hours of rehearsal and plastic inside. I must confess that in my last projects I had the pleasure of working with some professional actors who managed to make their art a profession and in the scenes where they are showing their talent so in the immediate future I am already mixing both styles. I think the most important thing is always the human credibility.

*Your film must be 96.5% improvised. *Filming must be done without any preparation or a traditional script.
I think that improvisation has an important place in a film, a song or a painting, but I also think that a pre production about a project it’s very important to later be able to be free.

*The director must raise "get-by" money by finding a job that challenges their ethics.
I think that if you can do it you should never have an ethically questionable job

*No HD Cameras
I do not agree; I think that just today high complexity technology is within our reach and we must take advantage of it to be able to compete with the biggest fish

*The director must have a main character role in the film.
Not necessarily but I do like it when it naturally happens

*Short films are NOT acceptable, it MUST be a feature you lazy bastards!!
Every project its different and had several ways and own times to develop and grow!

*No 3D
Except for my kids and me in ours “Tuesday´s night cinema family day”!!

*The cast must NOT know what your film is about.
Completely agree! We must surprise everyone at all times so that naturalism is impregnated in the film.

*No Green Screen
Why not? if you need it or the project need it you should have whatever you need for making your dream came true!

*Special lighting is not acceptable.
Unless you have a huge budget and a lot of time!!

*The director must edit the film alone.
In my case I edit the first versions of the film and then I finish them with someone who knows more than me about it. But if I could make a good job I would love to edit myself!

*Mistakes are beautiful.
100% agree…my paintings taught me that!

*Continuity is wrong.
I think the subject is deeper: what is continuity? What is wrong?

*Bewildering, vague, self-indulgent, plot-less, risky, egotistical, limpid, raw, ugly, and imperfect are perfect.
Off course!!!...Real life is bewildering, vague, self-indulgent, plot-less, risky, egotistical, limpid, raw, ugly, and imperfect

*Technical film experience is inessential.
Not for your own personal journey but technical issues are important to be able to communicate better whatever you want or need to communicate.

*Answer to one person only—yourself.

100% agree!!

*What can we expect from your next film?
All the above-mentioned facts, added to the conformation of a spectacular human and professional group and mostly ad honorem achieved such a synergy, that among other things, we have the possibility of having a financing from a private producer (which advanced half of the total cost of the film) so that in November 2108, we could film the second chapter of this trilogy, called "Curtino Hnos", in the same amount of shooting days and total budget as the previous movie, but with a jump in the quality of the cameras, the production, the number of locations and the number of people involved in its realization.
"Curtino Hnos" is a violent and hilarious comedy that tells the story of a lawyer come down (addicted to drugs and gambling); a mafia boss in retreat; an ex-convict thirsty for revenge; an orthodox Jew who runs a brothel and sings karaoke at night and the Italian and Czech mafias facing death, always with the Montecastro neighborhood as a place of operations. Currently the film is in the process of editing

Interview with filmmaker Chukwuma Emma Ogbangwo

Judas will be screening at the Straight-Jacket Guerrilla Film Festival

How did you get into making films? 
I always wanted to make video games. I even have a Master's degree in computer games production. But the gaming industry here in Nigeria is practically non-existent so I decided to learn how to design 3d animations and visual effects for movies and music videos. I did that for a while and realised I could easily just learn the entire film making process. So I took a course in film making and also music video production. When I relocated back to Nigeria, I went full time into film production as an independent film maker.

What inspired you to make your movie? 
Most film makers in Nigeria usually make movies in the romantic drama or comedy genres because that's what sells here. My brother came up with the script for JUDAS which does not really fall into any of those genres but we decided to make the film. We wanted to do something that was not the norm here and see how it would be received.

How has your style evolved? 
With time, I think I have been drifting more to the Guerilla style of shooting. Getting things done as quickly as possible while still paying attention to details.

Tell us any strange or funny stories while making the film? 
Okay, here's a funny thing that happened while filming JUDAS... I was rehearsing a scene with some of the actors just before shooting and while we were going over their lines, my belt snapped and I didn't realise until I stood up after rehearsal and was about to direct the scene. As I stood up, my pants fell and I was lucky enough to catch it just as it reached my knees... Luckily enough, nobody really noticed except my brother who offered me his belt for the rest of the day.

The Misrule Film Movement & Pink8 manifesto bring what to mind? 
To be honest, I don't really have an idea what it is about.

What can we expect from your next film? 
For my next film, I'm definitely still shooting genres that are not really being done here. I'm thinking of going for a psychological thriller. It's going to be dark and kind of uncomfortable to the audience here in Nigeria but it's also going to be pretty interesting. 

Interview with filmmaker Finn Harvor

O Planet will be screening at the Straight-Jacket Guerrilla Film Festival

How did you get into making films?
As I said regarding my first statement, I started out as a visual artist and writer. I was always interested in films, but, never having been to film school, was intimidated by the process of making them. It wasn’t until after I moved to Korea that I got serious about the process. Making ambient movies and video-poems became my focus. And even then, there was a long learning curve involved—even though what I do is technically fairly simple.

I’d like to add that I’ve learned over and over that making movies isn’t something you “finally learn” or “completely master”. It’s an intricate task with multiple layers of complexity, even when the project seems fairly simple from a technical point of view. There’s always the risk of gremlins with sound, or exact focus, or proper exposure. Someone once said a big part of successful movie making is troubleshooting. There’s a lot of truth to that.

*What inspired you to make your movie?
I was travelling a lot because of my job and because of friends and family. Also: for several years, because of my brother’s illness (alcoholism) and eventual death (the topic of other video poems). As I was travelling with my wife on trips or by myself to conferences, I realized how extraordinarily well planned systems of travel are: you take a subway to a bus to an airport to a plane to another airport, and so on. We are caught in a matrix of transportation systems that benefits us on an individual level but is part of a much larger set of industrial systems that harm us on a planetary level.

More : these systems have been evolving in a “modern” sense for over a hundred years, and have taken on their own logic. Put differently, human beings have a relationship with their machines, and this relationship is frequently taken for granted. But in reality, we have already seen how catastrophic these industrial systems can be, even though in the past we did not perceive industrialization as being so harmful to the planet it might destroy us. 

The example I’m thinking of above all is how industrial systems span out of control during World War Two. The Nazis and Imperial Japanese used industrial systems to horrific effect, and, in order to defeat fascist Germany and a Japan, other industrial systems that were also horrific were also used. I’m thinking here of air war — carpet bombing, fire bombing, and atomic bombing.

But after all the destruction of World War Two ended, the machinery that enabled industrialized war remained. And so we now find ourselves globally at peace — yet at the mercy of the machines and systems that make war possible. In a sense — if we view history not so much as a series of political and/or social events, but as a series of technological developments and system refinements — we see that even in time of peace we can be as threatened by machinery as during war. 

*How has your style evolved?
Started off with short pieces that were sort of loosely determined by how much good footage I had and an intuitive sense of what “felt” right. Am becoming more interested in projects that are either strictly defined by a time limit (say, one minute) or using only certain elements (say, sound collage or vocal singing), or else are very ambitious (feature-length, with my own art, text and music). However, one stage of evolution just leads to another, and am sure I’ll be trying different approaches still in a year or two.

*Tell us any strange or funny stories while making the film?
This project is based on footage shot over a few years as I travelled to a conference in Berlin, and also personal trips with my wife to Tokyo, Toronto, and Ottawa, as long with a lot of footage around Seoul. I was using different cameras, simply trying to capture the feel of the places we were in. 

Tokyo had one of the strongest effects on me in terms of the sheer complexity of the city. At one point we were riding an elevated train that had no human operator and I realized I felt like I was in a Moebius drawing. The future is here, and has been for a while. Ditto with sensations of being in big commercial jet planes and thinking of what a pervasive technology they’ve become. 

We tend to think of future technologies as digital because we use computers in our offices and studios. But we also rely on transportation technologies, even if we’re movie makers obsessing over our camera, or editing software, or computer specs. It’s true that these transportation technologies are more and more managed digitally — like, for example, an electric train without a driver. However, already-existent technologies like cars, trains, ships,  shape our working and personal lives more than we care to admit. So when we think about the “future” in terms of human-made systems that can affect the planet, I think we should realize it’s been radically affected since World War Two.

Finally, we as a culture should always make a conscious effort to remember the catastrophic human cost of the systems and technologies of that war. And because of the Cold War — which never seems to end but just keeps shape-shifting, as we move from one perceived enemy to another (Russia, China, Iran, North Korea) — we are perpetually at risk of another political catastrophe. 

And finally, we’ve reached a point in the pervasiveness of our technologies that even if we don’t have another world war, we might nevertheless have a  “World War Three of the Ecosystem”.

*The Misrule Film Movement & Pink8 manifesto bring what to mind?
I agree strong that low and no budget filmmaking have a strong future. Also agree with a kind of punk, DIY aesthetic. Filmmaking of this sort is merging with visual art, music, and video-poetry — and that should continue. More and more artists are becoming multidisciplinary and I think that’s great.

Re: the point of view that filmmakers should put their work on social media and make it publicly available: I’ve done this with a lot of my work, and will continue to do so. More: it drives me crazy when alternative festivals insist that film submissions can’t have already been online. Incidentally, since I’ve done a lot of writing for small literary magazines, I’ve encountered the same rigid rules for poems and short stories. Generally, none of these places pay, so one has to ask: At what point is it just a will to power? However, I need to emphasize that I have sympathy for filmmakers who keep at least some of their work private. The art world is what it is, and people need to build “reputations”.

*What can we expect from your next film?
Im going to continue with video-poetry, and also do more video-stories — maybe another video-novel. 

Interview with filmmaker Thivolle Lo

Dark On Dark will be screening at the Straight-Jacket Guerrilla Film Festival

*How did you get into making films? 
I started making films late. Not having been immersed in any artistic environment, I was first a sports teacher. Then, I started a thesis in Urban Anthropology on migration and underground economy issues. I couldn't find what I was looking for, and I came across "Moi un noir" by Jean Rouch. That was in 2005. From that moment on, I knew it was films I had to make. 

*What inspired you to make your movie? 
I think they were films that inspired me. Because I didn't go to school or film school, I learned by watching films and doing it by myself. Jean Rouch inspired me, Pedro Costa too and many others... I had no more money, free time and a camera. And when I saw that friend I was in college with on his bench again, I sat next to him. Without any idea of a movie, just to pass the time. I think it was here, on this bench, that I learned to make films, to make my own cinema. Looking at life unfolded.... 

*How has your style evolved? 
My style evolves according to me. How I evolve in life and in the world. The encounters I make, the internal and external movements I live. The cinema I make is linked to my life, and my life is linked to my cinema. I live situations, moments, encounters... I take time and then I give a cinematographic expression. It's quite simple, that's how I learned. Little by little, by trial and error. I find the story, then the form that will allow me to express it through different emotions, sensations. 

*Tell us any strange or funny stories while making the film? 
This question is a delicate one... I am so much and at the same time none... Living 1 year on a bench, on the street in a public square leads us to realize how irrational life is. Beautiful and so hard... Once it snowed immensely in the square. Boureima remained fixed on her bench. Everyone left the square to take shelter because the snow was falling so much. He didn't move. After a while, it was covered with snow. All white. Only a small black spot appeared where one could see his face, his mouth and his deep look. It was so beautiful this image... So beautiful that I didn't film it, as if to keep it for myself! 

*The Misrule Film Movement & Pink8 manifesto bring what to mind? 
I find the manifesto very accurate and relevant. I fully support it... and I am happy to know that my film will be presented in this event because in its manufacture and its desire/folk it is very close to the manifesto. 

*What can we expect from your next film? 
In my next film, I'm learning boxing. My coach is a disabled person. It's a road movie about two fragile and marginal beings who want to realize a dream, a madness. The one to prepare for a professional boxing match. At 44 years old, for the past 2 years I have been learning boxing intensely for this fight. I'm filming this learning. Dany comes from a poor family, I come from a rich family...we are single and our madness (cinema for me and boxing for him) is our love.

Thursday, 18 July 2019

Interview with filmmaker Júlio Godinho

Found Hema Trema will be screening at the Straight-Jacket Guerrilla Film Festival

*How did you get into making films?
I began very young, about six years old, to write on a old classic typewriter, stories, visual stories, Than i had a local newspaper, sold door to door in my neighbour, “The Shout” was the name of the newspaper, Than at the age of fourteen i started to shoot my daily life, even today i use the footage of that time for my films, It was always about passion of Cinema, It was always what I wanted to do, Movies.

*What inspired you to make your movie?
My life as a time hole, searching and finding, on a timeline, for life to pain, from victory to death. 

*How has your style evolved?
It had changes from mainstream documentaries mixed with some experimental work, to Auto-Fiction movies.

*Tell us any strange or funny stories while making the film?
The movie caused a kind of riot between the art scene in the country of my mother, Portugal, First i showed part of the movie, the first part, in a format of twenty minute's short-film, Than i had the courage of showing the whole movie, It cause a lot of feelings even between my close friends, because the movie tells “myself" stories of near-death experience, and the last days of a truly friend,