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,  

Interview with filmmaker Júlio Godinho

Youth Form - Sea Horse will be screening at Straight Jacket Guerrilla Film Festival

*How did you get into making films?

I started at an early age to explore motion pictures with my Video8 camera, later on at Film School I made my first Short film, inspired by the work of Andy Kaufman. 

*What inspired you to make your movie?

Communication, (their voices) of outsiders and isolated people at small villages to the world threw film, was and is my goal. 

*How has your style evolved?

I started to be influenced by the American Brats, Coppola, Spielberg, and Palma, in the way to tell stories, creative stories threw film, than I discovered the work of Soviet filmmakers, of the beginning of Cinema history, such as Eisenstein, Dziga Vertov and Peleshian, but when every change in my work was when I had the first touch with Antonioni films, and the Direct Cinema Directors, such as Pennebaker, Wiseman.

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

"Ready on Stage" and "Café Americano" have some in common, the lead actor, sax player, died a couple of months after the film was made, and in "Café Americano" I shot maybe the last period of my Grandma in a Nursery home. 

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

The need to communicate, by stories of common people was always my goal, beyond the budget and equipment issue, "less is more".

*What can we expect from your next film?

Nowadays I'm working in a new project, a feature, about Spanish Bullfights, I will continue using common people, unknown people as actors, and to explore images in the way I feel about, in the moment, no scripts.