Stina Bergman. The Refflection of the Sun
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For me personally I don't have an urge to make realistic films. I like to work with scripts that are about something that normally don't happen in real life.. |
Is Solkatten just some sort of a funny story to you or is there something more to it?
My scripts often start with a phenomena that I find interesting. Solkatten started with communication, the phenomena of the verbal language. I thought about how easily we, as human beings, turn someone down just because we are expected to. We are used to reply to someone in a certain way.
From there I found this story. I wanted (in a funny and sensual way) show the viewer what possibly could happen if someone approaches you with a language that you don't speak, a language where you are not sure about how to say "no".
I wanted the actors to have some kind of different status without disturbing the audiences focus from the fact that I'm playing with language and communication.
Each film leaves a trace in the life of a filmmaker. How deep was that of Solkatten as related to your other works?
Solkatten gave me a big confidence boost, I managed do what I had in mind. I managed to go all the way from idea to post-production and finally meet the audience.
Before Solkatten I was very comfortable in the script process etc, but after being so involved with all of the aspects of filmmaking as I was with Solkatten, I now got the confidence to call my self a filmmaker.
How often does the problem of communication arise in our lives?
Always and absolutly. I think the biggest problem about communication is when you speak a language that you feel totally comfortable with, that makes us answer by automatic, we say what we usually say, without reflecting over the question.
Bjorn Soderback (Solkattens still)
Did you work with professional actors in this film?
Both actors in Solkaten are professionals. Marika Lindstom who plays the woman appears from time to time in Swedish feature films, but Bjorn Soderback did not have any previous experience from film.
Did it allow you to devote more time to your actors?
For me it's important to rehearse with the technical team two days before shooting so that upon the arrival of the actors, I can put all my energy on them. We shot the whole film in six hours. The actors did never have to wait for the team to get ready, so you can say I keep a tight schedule on the set.
With a low budget film as Solkatten was, I didn't want the script to be complicated, I want to have a lot of time for actors, therefore a simple setting, therfore no extras. This was my second short fiction and I didn't want to take a chance, it took tideous preparations to get to my goals. Nothing was left to coincidences, all the time I wanted to know what I was doing and also be on top of the whole situation.
I shot the film from different angels, but always the whole sequence in long takes, I wanted the atmosphere to be authentic and sensual, so that the tension between the actors should feel real. I did not rehearse with the actors before the actual shooting began, but since we shot the whole sequence a lot of times I had a chance to try out some different expressions.
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I want to be in charge though, I want the crew to know exactly what to do when the actors arrive. |
Was it set in real interior or was it shot in a studio?
The interior is real and I'm not to satisfied with it. Preproduction was about two weeks for me (contacting the actors, arranging the clothes, location etc) and I worked with the team for 2 and a half days (including shooting).
The hardest part was the lights, or for Lina Jorgensen, the light engineer, it was not difficult but it took a lot of time. We didn't use daylight, only artificial light.
What was Film I Varmland's contribution into production of the film?
They gave me the whole budget so that I could pay the actors and the crew.
I did not want to do this film without money, but Film i Varmlands role as producers did not mean anything. I did all the job that a producer should do. They only founded the film, giving me a possibility to give the crew and actors a decent pay.
And when it comes to sending the film to film festivals Film i Varmland have done a very good job.
What are your principles in filmmaking?
I don't have any. All my projects have been extremely different and for me it's always a new challenge and experience to get my projects and ideas through. I always need to find new ways to work.
I want to be in charge though, I want the crew to know exactly what to do when the actors arrive. I give the directing all my attention once they arrive, this also means I have to trust my crew completly.
What are your likes and dislikes?
For me personally I don't have an urge to make realistic films. I like to work with scripts that are about something that normally don't happen in real life. This does not mean that I don't like social realistic films, I do, but it's not my way of telling a story.
What is the most interesting film you have seen recently?
I saw Svankmajer's " Alice in Wonderland" yesterday. It was a lot of fun.
A few words for your Russian viewers.
Since Solkatten is about communication and language I am very glad the film is screening in so many different countries and now also in Russia . This is what makes the language of film so interesting. What I made 3 years ago can keep on talking to the audience for ever.
© Shortы 2006