I think, just as footballers play better at home, maybe film-makers, too, create better at home, even though the rules of football are the same wherever you go.
When I find the character, I try to spend time with them and get to know them very well. Therefore my notes are not from the character that I had in my mind before, but are instead based on the people I’ve met in real life.
I was mentioning with the digital camera, maybe this new fashion of filmmaking gives a closer look of what life may be like. But it’s still nothing but a copy.
Close-Up is a very particular film in my oeuvre. It’s a film that was made in a very particular way; mainly because I didn’t really have the time to think about how to go about making the film.
Despite the great advantages of digital video and the great ease of using the medium, still those who use it have first to understand the sensitivities of how to best use the medium.
I have somewhat lost my enthusiasm in the last years. Mainly because film students using digital video these days have not really produced anything which is more than superficial or simplistic; so I have my doubts.
I saw this French woman, this English man in Italy. It was a film [Certified Copy] I knew well, but I had already seen it, and I was familiar with it, and I had no feeling of anxiety or responsibility toward it.
I wasn’t searching for a common denominator – I started wondering about the challenge of working in other cultures. What I reached was the sudden acknowledgment of the universal aspect of filmmaking.
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