Orson Welles, interview

Interview réalisée à l’occasion de la projection du film Orson Welles au festival Cortopotere, 2010 : 

Interview about our film Orson Welles, during the Cortopotere Film festival, 2010 :

Orson Welles on Vimeo

Is “derviches associés” a film artists collective? Why have you decided for this name?
If a collective begins with two people, then we must be some kind of collective ! But we’ll keep working as a duet, and when we work with others sometimes( like with Saint-Octobre rock poetry readings ), it’s as a duet.
Derviches Associés came the day we had to choose a “label” for a 48h project movie, being part of a digital cinema festival in France : “cinéma nouvelle génération”.
Derviches is for the independent spirit of the soufi derviches ( apart of any religious connexion )and their way of “learning by practicing”.
Associés is a way to remember with a smile that we are definitly not a commercial business.

How many persons are involved in a short production? Do you always work together? Do you use a precise work method?
We are very very independent. So what we like is to work with a very very light production : the two of us, sometimes a sound engineer, sometimes a director of photography, and that’s it. Most of the images we use are “stolen” from places where nobody even noticed we were shooting a film.
We always work together : we have to know each other very well to shoot this way, we have to be able to improvise, use our environment. For the same reason, our work method is some kind of a mess… We can’t say who did what at the end of a film. Francis does most of the editing and the shooting, while Katia does all of the acting, and writes the most.

Which support have you used to shoot “Orson Welles”?
Is it reasonable to tell it ? A little “hairdryer like” Sanyo Xacti, full HD though, no steady cam.

Have you got any future projects? Are there any images that fascinate you or which are you working on?
Future projects, plenty of ! We just finished a new film : La neige ( The snow ) exclusively made with found footage of snowy days in the south of Italy, and home movies. We’ll be part of the International Contemporary Art Biennial of Lyon with a “live cinema” performance called Cinéma fragile, and we’re preparing a series of mute films for the poetry reading shows of Saint-Octobre. And then we’ll begin to write our next film project, called “Wannabe”.
We find the images that we didn’t shoot for the purpose of a specific film fascinating, because you can look at them for what they “really” are, not for what they were done for. This is why we love to work with found footage, internet archive, old postcards, etc… We also shoot a lot of films with no particular intention, that we use later, almost like a writer uses words. They are like our vocabulary.

Are there any film masters, from whom you get mostly inspired?
We’ll, Godard of course, but also Pasolini, specially for “Accatone”, so as Minelli with “Some came running”, Cocteau’s Beauty and the beast, Orphée. Jean-Daniel Pollet’s “Méditerrannée” and others masterpieces, Chris Marker, but books inspire us a lot too, books are fine filmasters ! Like those André Hardellet wrote, or music, like Lou Reed’s Perfect Day. This kind of question is always a real pain because we remember most others we love and should have mentioned… after answering.

Which was the criterion you used for the music choice?
Some of the music comes from the film of the boy running, but slowed down and distorted.. Oslo Microscopic’s music comes with a low and disturbing pulse that we loved. Some comes from D1 ( aka Mister Magic Loop aka Francis )and is made of… loops.

Which support has been the voice-over cut on? Is the noise on the background that of a videotape recorder?
The voice over was recorded on an analog portastudio from the 80’s, right! We love the shhhhhhh of the tape…. The background noise is a “complex” and hazardous mix of the huge gas fire boiler of our flat’s building, a vinyl hiss, our street noise heard from down on the basement, and more…. We wanted a kind of constant and low rumbling, behind the voices.

Where have you found the stock images you used for the film?
The ones we didn’t shoot ourselves come for the most part from Internet Archive, and are free of rights.

Could “Orson Welles” be considered a postmodern work?
We really don’t know, to be honest.

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