DV-FILME 2004 | ARTIKEL 2004 | TEXTE ZUM THEMA | ARCHIV 2003 | 2002 | 2001
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Teodoro heißt der strenge und gläubige Vater von Soninha, die ein Heavy- Metal-Fan ist. Religiosität und Strenge hindern Teodoro nicht, eine Geliebte zu haben. Von Terenzinhas Existenz ahnen weder Soninha noch ihre Mutter Claúdia etwas. Diese unterhält ihrerseits eine Affäre mit Júlio, dem Schlachterssohn aus der Nachbarschaft. Regelmäßiger Besucher der Familienidylle am Stadtrand São Paulos ist Waldomiro, ein alter Freund Teodoros. Als Júlio ermordet wird und Claúdia Teodoro für die Tat verantwortlich macht, eskalieren die familiären Auseinandersetzungen. Was sie nicht weiß: Im Hauptberuf sind Teodoro und Waldomiro Auftragskiller, deren Dienste Geschäftsleute regelmäßig in Anspruch nehmen. QUESTIONNAIRE How would you describe the aesthetics of your film? I think most images in contemporary cinema are artificial. They lack verisimilitude. I tried to make a film that could have a documentary quality. It is nothing new. The Neo-realism, the Nouvelle Vague, the brazilian Cinema Novo, Cassavetes and the Dogma movement were seeking for the same freshness. Why did you choose to shoot on dv? It was primarily for aesthetic reasons. The film apparatus imposes by itself a way of looking. You have to prepare the shot for the camera. In other terms, you build the world every time you change your angle. In my film I did the opposite: the scene was staged and then I would choose the best angles. The shooting was subordinated to the actors and to the scene. That was really important because all the scenes have been improvised. The actors had only the description of the action and the circumstances, no dialogues. What was special about shooting in dv (e.g. compared to 35mm, was it your first time with dv or are you used to it)? It was my first time filming fiction in DV. I did some fiction shorts in 16mm and 35 mm and I enjoyed a lot more doing it in DV. There is a terrible paradox in filmmaking: the director is the guy who works to get the money and during the shooting he is the last one to have fun! He needs to wait for the cinematographer, the sound mixer, the art director and then he can work. But, when the film gets behind schedule, he is the one who needs to cut the script! I've never seen the crew accepting to shoot an extra week for the same money. Filming in DV allowed us to stay in budget and to have a lot of creative liberty on the set. What was your shoot-edit ratio? 30 hours for 93 minutes, 20:1 Would you have preferred to shoot in another format? If so which? No. Does using dv mean that you are considering other means of distribution opposing the established? If so which? I don't think the format defines the way you will distribute a film. The public isn't aware if a film was made in DV or 35 mm. What matters is yours actors, your script, the quality of the final product. If you did an experimental film, you should try alternative ways to distribute it. If your film is a funny romantic comedy, why should you innovate in distribution? In our profession everybody thinks they know what the public likes. And they think that the "bad" qualities of DV will be seen by the spectator. I doubt. Image "Quality" is a subjective factor, it's a convention and one of the least important aspects of film pleasure. You quickly get used to the way it looks and do nor see it as a problem. People spend a lot of money in "good" image when a bad sound hurts a lot more! One good word about dv (or two): Liberty One bad word about dv (or two): Film Transfer [zurück zur DV-FILM ÜBERSICHT] [nach oben] |
