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In der Nachkriegszeit, vor genau 60 Jahren, wurde in einer irischen Landschaft am Meer das Urlaubscamp Mosney gegründet, um Familien eine vorübergehende Fluchtmöglichkeit aus dem Alltag zu ermöglichen. Heute wird der Ort für eine andere Art von Fluchtstätte genutzt: als Heim für Asylsuchende, die dort meist viele Jahre verbringen.
"Passagen sind Häuser oder Gänge, welche keine Außenseite haben - wie der Traum", so Walter Benjamin im "Passagenwerk". Im Innern der grauen Flachbauten findet sich eine voll ausgestattete Welt des Entertainment. Die Kamera streift traumartig durch den verlassenen Tanzsaal, einen leeren Swimmingpool, durch Speisesäle, Kinderparadiese, entlang an Spielautomaten, buntem Plastik-Dekor, Leuchtschriften, die Fish & Chips anpreisen. [aus dem Forumprogramm]
INTERVIEW How would you describe the aesthetics of your film?
Nicky has run the Darklight Digital Festival since 1999 and Paul has worked as a video artist for many years, and this film came together as a collaboration between the two of us. We wanted to draw on Paul's artistic work to date while investigating the documentary form - so making a very visually driven work while at the same time prioritising the stories of the asylum seekers. People have described the film as both beautiful and unsettling.
Why did you choose to shoot on a digital format (was it solely for financial reasons, or did aesthetics play a role)?
We started working in the asylum seeker centre doing video workshops with teenagers - teaching basic video shooting and editing skills, so the affordability of digital media and ease of use made it a good choice. But also for lots of other reasons. We never really considered film as we wanted a very small crew due to the sensitive nature of the subject matter - people were afraid enough to talk to us as it was, so we needed it to be just us two directors and a sound person. Also living in the camp we needed the flexibility to be able to run and shoot at a moments notice if that was what was required. And also we wanted to stay as a low budget production so that was part of it too.
Which format exactly did you choose (MiniDV, DVCAM, HDV, HD...), and why?
We shot about 98% on mini dv and then did some high crane shots in HDCAM. We shot most of the film on the HVX200 and loved it.
What was special about shooting digital (e.g. compared to 35mm, was it your first time with dv or are you used to it ..)?
We've worked with digital media since about 1996 so we're well used to it.
What was your shoot-edit ratio?
We shot about 65 hours for an 82 minute film.
One good word about DV / HDV / HD (or two):
Access.
One bad word about DV / HDV / HD(or two):
Noise.
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ZU slashCAM | ZUR FORUMSEKTION | IMPRESSUM | QUICKTIME PLAYER