1 How would you describe the aesthetics of your film? It is a very intimate film. 2 Why did you choose to shoot on dv? There were two main reasons basically: -- A financial one: I was planning to shoot during one year over 180 days in a remote country (Bosnia). And because of the subject of my film, I needed to be able to shoot sequences lasting up to 1h30 each.So I ended up with an overall amount of rushes of 300 hours. DV was therefore the only afordable format for such a film. -- a practical one: My film is about intimity. Filming a psychotherapy is nothing common. I thus needed a very light structure for filming. With DV I could reduce the team to the cameraperson, the interpreter and myself. I definitaly knew that with a DV camera I was not going to afraid the protagonists of the film. 3 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 is my first film. I loved shooting in DV because of the freedom it gave me. If ever I had pressure on me during this shooting, it was because of the film itself, its plot, not because of technical problems linked to filming on a cinema format. 4 Which camera and which editing software did you use? A Sony VX1000 and a Canon. Edited on Avid 5 What was your shoot-edit ratio? 300 hours of rushes. 82 minutes of film 6 Would you have preferred to shoot in another format? If so which? I would have preferred 35mm, but this is just a phantasy. There was no way I could have done it. 7 Does using dv mean that you are considering other means of distribution opposing the established? If so which? Not especially 8 One good word about dv (or two): Freedom (and freedom). 9 One bad word about dv (or two): If you don't have a sound engineer, if you use the camera microphone or a microphone plugged to the camera (which was my case), you'll end up having a lot of sound problems. By the time I was postproducing the film, if I had not been given the financial means to have a cinema-type postproduction (a cinema sound-mixer technician and a cinema sound mixing studio), the sound of the film would have been a disaster. [Laurent Bécue-Renard was born in Paris in 1966. He was chief editor of the Internet magazine ‘Sarajevo OnLine’, based in Sarajevo itself, during the last year of the war in Bosnia. A graduate of the Paris Institut d’Etudes Politiques and a former student at the ESSEC Graduate School of Economics, he was also a Fulbright visiting scholar at Columbia University (New York). He is the author of the ‘Sarajevo Chronicles’, published in English on the Sarajevo OnLine Internet site (1995-96). Living Afterwards is his first film.] nach oben [impressum]