-What has been the greatest difficulty you faced in producing your project?
Definitely the novelty of it all. When we started Sitting in a Dream, we barely knew anything about filmmaking or producing music videos. Before this one came about, our experience was limited to a bunch of high school amateur shorts and fake trailers shot on a tiny Panasonic camcorder in our old Soviet panel housing backyards. This was our first real attempt at more or less professional filmmaking, and Sitting in a Dream was originally meant to be part of a series of promos for an arthouse Syd Barrett-inspired film we were planning but never ended up making (hence the title).
From the start our aim with it was festivals, which is why the production quality had to urgently get much less embarrassing. At last, we left behind our usual “Moscow Hollywood” setup—our affectionate term for the Soviet brick jungle where we had filmed everything up to that point—and drastically expanded our location scouting to ensure the material properly matched our vision. We upgraded to a 4K camera, invested in proper lighting, and expanded the crew by bringing on a gaffer, grips, and a makeup artist, all of whom had to learn on the job since hiring experienced professionals was way out of our budget. Needless to say, my job as a director had gotten a lot tougher, but the fact that we pulled it off speaks volumes about the fast learning and incredible talent of the people I had the privilege to work with.
-Do you think the film industry today has been damaged by political correctness?
Certainly, and quite severely in my opinion. What I have seen happen in the industry almost on every level is the utter politization of the art of filmmaking, to the point where every movie seems to try to make the same old political statement and pander to different minority groups rather than tell an actual story or God forbid entertain the audience. On the other hand, history has shown that such periods of censorship in the arts cannot last forever and, in the end, can only lead to one thing: an explosion of free artistic spirit fueled by a desire to break those chains and tell new, unique stories that inspire and entertain. I believe we might just be on the brink of such a “renaissance”, where filmmakers will once again be prioritizing artistry over agenda.
-What was the greatest source of inspiration for creating your project?
Quite simply, Syd Barrett. I firmly believe he is among the most important figures in music history with one of the most tragic and unusual, at times even magical personal stories that just begs for a biopic about his life. This was my first time working on a music video, so I looked to other music videos for inspiration, particularly Pink Floyd’s 1960s TV promos featuring Syd. The one that impressed me most was their 1967 promo for “Jugband Blues,” Syd’s last song with the band, and what was so interesting about it was how you could see that at that point due to his progressing mental illness he was completely and forever lost in his quiet senseless darkness never to return again. “Now there’s a look in your eyes, like black holes in the sky”, – as his bandmate, Roger Waters would later put it.
Fairy tales were another key inspiration for this music video. Syd Barrett was apparently just as fond of them as I am, which is why for “Golden Hair” he adapted the lyrics from a James Joyce poem that seems to hint at the story of Rapunzel, one of the most iconic fairy tales out there. With its imagery, we aimed to evoke a sort of magical-mythical feel in our music video by featuring fireflies, candles, mysterious masked men, and the Golden-Haired lady herself, all quietly surrounding our hero. The interplay between these elements was designed to transport the viewer into a dreamlike world that blurs the boundaries between reality and fantasy, a reflection of the mesmerizing quality of Barrett’s own work.
-If you could ask a question to a great director from the past, who would you like to talk to and what would you ask them?
I would have definitely loved to talk to Andrei Tarkovsky (who, interestingly, comes from roughly the same region in Russia as my mother) about his filmmaking style and try to get him to explain his unique approach in very plain and practical terms, rather than the artistic and almost spiritual responses he typically gave in his interviews.
-What do you think of the Wild Filmmaker platform?
So far, I am quite fond of it! I think it offers a unique opportunity for us little indie people to participate in some of the biggest and most prestigious cinematic events all over the world, not to mention interview us and allow us to give our own unique perspective on what the art of filmmaking can be. It’s incredibly encouraging to see such platforms providing a voice to independent filmmakers, fostering creativity, and helping us reach wider audiences we might not have been able to access otherwise.
I am a Canadian new media artist (photography and video) / composer / writer, who lived and worked in Paris for 30 years before moving to Florianópolis, Brazil in 2010. My formal education was in the social sciences and I have an Msc. in Economics from the London School of Economics and Political Science (LSE). I left my doctoral studies to pursue a career in photography in Vancouver, Canada in the mid-70s and decided to dedicate myself exclusively to my exhibition work when I moved to Paris in 1979. In the 80s, thanks to good gallery representation in New York and Paris and multiple participations in the biennial Paris Month of Photography (1980, 1982, 1988), I was able to exhibit my work widely in Europe, N. America and Japan. I left the analog photographic world in the late 80s to devote myself full time to composing music for video art, contemporary dance and my group Private Circus. I had always composed music on a part-time basis since moving to Paris, but my frustrations with the limitations of analog photography led me to explore the world of digital music on a full-time basis, an activity that enhanced my later interest in digital imagery, filmmaking and online technologies. When the quality of digital applications in the visual arts had begun to catch up to those in the audio universe in the period between 2003 and 2008, I began to apply many of the processes I had developed in my musical composition and sound designing work to digital image-making based on combinations of photography and the graphic arts. By the time I arrived in Brazil, I was dividing my time between research and exploration in digital photography, video and music, all in the service of creating new media pieces. Over the past seven years I have grown increasingly interested in exploring and developing interactivity in both my online and video projects, devoting the majority of my time to experimental video work. Throughout my 45 years as an artist, my formation in the social sciences continued to be an important influence on the manner in which I develop and evolve the conceptual processes underlying my work.
-What inspired you to become a Filmmaker?
Upon arriving in Paris, I quickly realized that I needed to find a way in which to assure a relatively steady flow of income to finance my photographic exhibition work. I was offered the opportunity to create the Photography Department at the American Centre for Artists in Paris, an avant-garde independent cultural institution that was famous for introducing American video art to French audiences as well as for its work in the field of modern dance and music with its affiliations with the Merce Cunningham Dance Company and John Cage. The video activities at the American Center were initiated by Don Foresta who was Director of its Center for Media Art. Don regularly organized presentations, workshops and encounters with some of the most influential video artists of the day including Woody and Steina Vasulka, Nam June Paik and William Wegman as well as exciting newcomers like Bill Viola, Gary Hill and Joan Logue among others. I attended all the presentations and began to develop a deeper understanding of the power of video art and its relationship to experimental film. During my first year of teaching at the Center I was asked to participate in the first transatlantic transfer of an image over a telephone line via slow scan between the American Center in Paris and Center for Advanced Visual Studies at M.I.T. In 1981 this constituted a veritable technological adventure and I found the experience profoundly inspiring. Anne Marie Stein succeeded Don Foresta as Director of the Center for Media Art and invited me to make my first experimental videos in 1983. When in 1984 she and her husband decided to move back to the USA, she recommended that I be named director of a new entity that would combine my now successful photography department with the center’s video activities. The Center for Media art and Photography (CMAP) was born. I remained Director of the CMAP until I left the Center in 1987 to begin pursuing my musical composition work full time, with a particular emphasis on music for video art works where I had the privilege of collaborating with many very talented French video artists. My innumerable encounters with remarkable artists that characterized my life in the 1980s cemented my belief in the importance of video art as a means of expressing what we think and feel about more intangible subject matter as opposed to focusing on what we see in the world around us. I became passionately interested in non-linear narratives in both video and photography, a passion that continues today.
-Do you think the cinema can bring a change in the society?
Change is a very complex process and profound change requires a number of powerful ongoing influences operating simultaneously and in harmony over rather long stretches of time. So, if I am honest, I do not believe that cinema alone can bring a change to society, although it is very capable of inspiring reflection on a change in progress. I think that the invention of filmmaking and the development of cinemas in the early 20th century did bring about a certain change, not because of its content, but because the nature of the medium itself represented a societal change, just as television did in the 1960s. As Marshall McLuhan wrote with respect to television “the medium is the message”. Cinemas in the early 20th century represented a new form of social gathering, one in which individuals did not communicate with each other during the event – a strange new form of atomized social gathering, a form that has been taken to new heights with the invention of the cellphone where groups of people can be seen in social settings, each individual glued to their cellphone screen. I do however believe that cinema, whether commercial or as a more abstract art form, does represent a powerful tool for raising questions and awareness about highly relevant questions and as such, is capable of making contributions to the groundwork necessary for profound change in many areas of society. Because commercial cinema has the potential to reach vast audiences worldwide, I think that perhaps it has the power in certain cases to incite a certain degree of reflection on a societal level. This is not true of the type of experimental work I create. My work is, by definition, more confidential. It is reserved for gallery and museum exhibitions and specialized festivals and as such, has significantly less power at a societal level. Instead, its power is that of touching a small number of individuals interested in more abstract philosophical topics. I make my work for myself, to express thoughts and feelings on topics such as doubt, ambiguity, chance and interpersonal messaging. I believe that much of my work is a mirror in which people can catch a glimpse of themselves in a different light, one that provokes reflection and often, a sense of discomfort. My work may not be able to change the world but I believe it has the power to change the way individuals see themselves, one by one. This, to me, already constitutes a relevant achievement.
-What would you change in the world?
The things I would like to change have to do with both individual and social relationships. For example, I would like to see an end to the ravages of world poverty and more emphasis placed on constructing genuine equality of opportunity and universal access to high quality public healthcare, education and local transportation worldwide. I would like to see an end to bigotry in all its forms. I would like to see a world in which children have the time to be children before we begin to pressure them into becoming what we adults think they ought to be in the future. I would like to see a world in which formal education devoted much more time to creative analytical thinking and culture and spent less time emphasizing memorization. Lastly, I would like to see countries place less emphasis on promoting nationalism and more on developing understanding and respect for the traditions and perspectives of other nations. So, as you can see, the list is an ambitious one … but you asked.
-Where do you see the film industry going in the next 100 years?
That is an almost impossible question to answer. Imagine if you had asked that same question to a filmmaker in 1924? However, there are perhaps trends opening up that suggest pathways to future film industry characteristics. Firstly, I believe there will be a strong push towards more independent filmmaking that involves both feature films as well as more experimental works. I believe that cinemas as we know them today will continue to have difficulties in drawing audiences if they cannot provide more technologically interesting experiences and do not strive to offer a more varied selection of types of work. I believe that this may be made possible by ongoing technological developments in the art of filmmaking that make the cinema experience a more immersive one capable of transporting the audience to entirely new environments. This may require rethinking of what constitutes a cinema. Will it continue to be a dark room with rows of seats or a more open concept with multiple projections and points of interest? In any case, I feel that in order to survive, the cinema experience will have to undergo changes that enable it to create and provide audio visual experiences very different from those which potential spectators can now enjoy daily in their own homes with their large screens and surround sound installations. Lastly, on a more general level, I believe that the notion of interactivity will play an increasingly important role in the evolution of filmmaking of all types. If innovation was the concept driving progress in almost all areas during the 20th century, I believe that the concept of interactivity will play a similar role in the 21st century. This implies a more active role for the spectator when compared to their passive consumer profile of the 20th century. This may oblige the film industry to focus much more on the development of sophisticated home-based interactive streaming experiences not unlike perhaps those being developed in the gaming / RPG universe. In any case, the transmedia aspect of the film industry which began developing 20 years ago will undoubtedly continue to evolve, exploiting new platforms and formats of communication, both online and off, designed to take the cinephile experience to new heights.
I’m an auteur filmmaker and storyteller simply because I perceive the world differently than the majority, and I love movies. My love for everything that makes a movie is something I was born with, but I never felt I could make a movie – it was too great a thing; so I decided I was an actress. With a drama degree, I went to L.A., but could never embrace or fit into the system; I met some people who wanted to make a short film, I wrote it for them; they suggested I be in it, then direct it and I eventually produced it. Producing was the most intense thing I ever experienced and it made me feel alive. Shaping a personal perspective into a cinematic story is the most interesting challenge to me.
-What inspired you to become a Filmmaker?
I grew up in San Francisco, raised by public school teachers. My mother would take me to The Castro – a grand arthouse theater – where we would watch classic movies, because I was the only one out of her four daughters who was interested. I would walk out of Katherine Hepburn movies unable to capture the fabulousness of the cinematic experience. The romance of Fred Astaire and Ginger Rogers movies – the costumes, sets, music, dance – the world they created to harbor a love affair between unlikely lovers…it was overwhelming to me; In college I worked at a movie theater and stand in the back watching the movies over and over, simultaneously getting lost in the story, but subconsciously being able to breakdown and appreciate all the components that created it and dissect what I felt were the weaknesses or strengths. My love of everything that makes a movie runs deep in me.
-Do you think the cinema can bring a change in the society?
Cinema is art and art changes the world. People are challenged by other’s stories and understanding of life. They’re inspired and moved. They are forced to compare and contrast their understanding with that of others. Movies inspire people to think and feel. The world can’t help but be a better place because of it.
-What would you change in the world?
My feeling is that people are inherently good. I work to expose that notion, so that people for whom being good is a challenge can discover the good in themselves and share it, potentially changing the lives of others who are struggling.
-Where do you see the film industry going in the next 100 years?
I’ve heard people talking about films disappearing and I don’t see that ever happening. Television has become really amazing story-telling, but it’s not a movie. Cinema is a special kind of story-telling. I feel like the large studios have really lost their way and are financially suffering from it. People will spend money for amazing movies and they won’t spend money for films that have no story. I see women film-makers changing the industry overall in the next 100 years, because they are breaking through with a more inclusive, sensible and ultimately productive way of making films. They run the set with schedules that allow the cast and crew to sleep; they listen to actors when they need something – rather than the “deal with it and get it done” attitude, inspiring better performances; and the tension that is produced by sexual predatory practices and intimidation can become a thing of the past. Movie-making and the movies produced from it should become an even richer experience for everyone as this process develops over time.
After appreciating the excellent quality of the experimental project “Breathing Dandelion Flowers,” we discovered “We Are Rivers,” which has been repeatedly viewed by the two international juries of WILD FILMMAKER.
We all agreed in defining the documentary directed by Argentine director Graciela Cassel as “an original experiment that takes the viewer on a journey into the yet-to-be-revealed secrets of cinema.” “We Are Rivers” confirms how important it is for film criticism to pay attention to independent cinema, as only films produced outside the major industries allow for complete expressive freedom. Graciela Cassel is a director with great maturity in the realization of her works, and with a simple and effective style, she manages to speak to the viewer’s heart in just a few minutes.
We are truly very happy that the “WILD FILMMAKER” platform revealed “We Are Rivers” to us, as it is an incredibly original project that we would never have seen without the distribution by “WILD FILMMAKER.” We wish Graciela Cassel to always have the same creativity, as independent cinema needs intelligent artists like her.
Don Pasquale is a priest from the province of Naples who loves music and composes Christian-inspired songs available on all digital platforms. From a young age, he began attending church with his family. At 15, he learned to play the guitar and led various charismatic prayer celebrations and meetings in his parish. After receiving the ‘Baptism in the Spirit’ at age 10 with a Catholic Charismatic Renewal group, he began to develop the decision to enter the seminary and became a priest in 1998. As a priest, he continued to nurture his passion for the guitar and, since 2017, has started composing Christian-inspired music. The singer-songwriter has since become a parish priest in the outskirts of Naples. His albums include: Certezza, Confidenza, Come roccia, Il dono della Vita, and Fedeltà. Don Pasquale has also released singles such as Fiducia, Guarda il Cielo, Gioia immensa sarà, among others (a total of 47 tracks to date); all are songs of evangelization and praise, and, along with the albums, are available on digital and streaming platforms. To stay updated on all the latest news about Don Pasquale’s music, it is recommended to periodically follow his YouTube channel, Facebook page, and other active social media channels.
– Can Art save the world?
I believe that art is a valuable tool for helping many people reflect on the need to work for the good of the planet and the salvation of all; each of us should understand that art, in all its forms, can certainly provide valuable assistance for the salvation of the world and the well-being of people.
– Wild Filmmaker is the largest global community of independent artists, also created with the dream of conveying a message of peace among people of different cultures. Do you believe that music and cinema can be an effective way to remind each of us that we are all children of the same God?
Music and cinema have a significant responsibility in the process of reconciliation between different peoples, as they are also means of communication and can easily convey messages of great values, such as peace and love among people; they can, indeed must, remind everyone that we are creatures of one God and therefore brothers and sisters who should respect and love each other. It is clear that even Wild filmmakers have a noble mission to advance, contributing to the human, cultural, spiritual, and moral growth of all.
– Every true artist is a revolutionary in their own way, while the Church, like any other religious institution, is archaic and hierarchical. How do you reconcile the dual role of priest and artist?
On this point, with due respect, I must dissent, as I believe that, especially today, Religion is more open to understanding and welcoming people. There will surely still be religious individuals who have difficulty adapting to modern times, but this is part of their personal journey and character. I also think that openness to the world should not mean compromising but, on the contrary, affirming with strength and perseverance the primacy of God in everyone’s life. One could say that everything is relative, but certainly not God and His love for humanity. My being a priest and artist perfectly aligns with my priestly mission as I always seek to place the Lord God first in everything; and my songs are born from the prayers I always direct to Him: they are Christian-inspired tracks that help me evangelize through music. In conclusion, I feel the duty to invite everyone to live their lives in serenity while continually cultivating the pursuit of Peace and brotherhood among all peoples. May the Lord keep you all in His love.
-What has been the greatest difficulty you faced in producing your project?
The greatest challenge in creating the project was first of all to find a cameraman/woman who could implement the idea and image design straight away and bring the appropriate storyboard to life, as the film had to be very visual from the start. And the second challenge was to find a sound man/woman who would work for no budget. It is very difficult for independent filmmakers, especially women, to get funding if the film does not come from a state film university such as the Dffb here in Germany. There is therefore no fund for career changers. You only get financial support if you are part of a state institution.
-Do you think the film industry today has been damaged by political correctness?
I am a huge advocate of diversity and inclusion. And as long as you have respect and appreciation for those affected, things will change for the better in society. And every change needs clear rules first, until at some point it is seen as normal and it is no longer questioned.
-What was the greatest source of inspiration for creating your project?
Pink City Film was intended to be a homage to Twin Peaks. Since I grew up with the famous series, it had a big impact on me both visually and through the unusual way it tells the story. But since my neighbor was killed 3 months after I finished my script, in the same way as my protagonist in my script, who, according to the description, also looks like the fictional character from Twin Peaks (Laura Palmer), I ended up dedicating the film to my neighbor Melanie Rehberger.
-If you could ask a question to a great director from the past, who would you like to talk to and what would you ask them?
That would be of course David Lynch, and I would like to know what difficulties he had before the successful career.
-What do you think of the Wild Filmmaker platform?
An excellent opportunity for independent filmmakers to gain visibility and to give an insight to what challenges filmmakers have to overcome.
