Directors to Watch: Camilla Figenschou on «To Open, To See»

Directors to Watch: Camilla Figenschou on «To Open, To See»

– The idea for To Open, To See came at the same time as I was doing a photo project where I was photographing children in Lofoten where they were holding a heart from a minke whale.

Ten short films from Nordic “Directors to watch” follows the December issues of the Nordic film magazines RUSHPRINT in Norway, EKKO in Denmark, Episodi in Finland and FLM in Sweden. One of them is the director Camilla Figenschou with «To Open, To See»

– How did you get the idea for the film?

“The idea for To Open, To See came at the same time as I was doing a photo project where I was photographing children in Lofoten where they were holding a heart from a minke whale. The film became an extension of these photos, and I even used a lot of the same kids for my film. It is difficult to say exactly where the idea arose from because it is so complex and I work impulsively. I thought a lot about what drives a narrative forward and in my film I’m playing with the idea that they are more and more controlled by a common physical energy that nature takes care of. An energy that they are both a part of and enslaved by.”

– What was the biggest challenge of making the film?

“To start with I had to convince the producer. Then I had to prepare myself as good as possible, so that I could let go of control later on, be in it, be calm, watch and let whatever happened happen. When the moment came, where the children cut through the stomach of the porpoise, they completely forgot about the camera and got carried away by their own concentration, curiosity and body. The film crew became invisible to them and I didn’t want to disturb, I just had to be there and watch. Being in the unpredictable is both a challenge but at the same time it provides a stimulating kick reminiscent of extreme sports.”

– Which feelings do you hope the audience is left with after watching the film?

“I want the audience to enjoy the film and to share the curiosity with the kids and then later on become ambivalent about the whole thing before they are left with a fearful joy.”

– What has this film meant for your career?

To Open, To See has meant a lot to my career. It has been screened at festivals, it has won awards and last but not least has Gunnar Iversen written about it in the Norwegian film magazine Rushprint. It generates interest and curiosity. The film contains a lot of my personality and a lot of the ingredients that I have used in my other art projects. That people like it and want to watch it means that I can continue to make films.”

– Why does the film look the way it does – aesthetically and stylistically?

“The story is set in a time and space where I can move around with whatever perspective I desire. I can be narrating and I can be observing. I’m not that interested in a good story, I just like to watch. To work out a form for the content is by far the funniest thing and also the most personal. It provides a wonderful opportunity to create a film that I would like to watch myself. It is important for me to create a universe that is separated from the reality we live in. Then I can do whatever I want and focus on subjects that I choose myself.  The universe of the film gets its own logic and realism. In this film my plan is also to seduce and distract the audience until they find themselves in the middle of the whole thing. Overall I like to distract because people are so quick to make decisions.”

– How do you feel about the result today?

“The film has become a thing on its own. I no longer evaluate what is good and what is bad. It exists and is seen by people all over the world. I’m very happy about that and I’m happy that I still feel a fearful joy when the kids go crazy in the film.”

– What was the most important thing you learned during the making of your film?

“It is important to follow one’s own will. And it is important to work with people that you get inspired by. In general I really learnt a lot because this was only my second short film made with a film crew. I learned that having a good assistant director is amazing, he really helped me to stay focused.”

– Which Nordic directors inspire you?

“Bergman and von Trier.”

– How would you describe the conditions for making feature films in Nordic countries?

“It is hard to complain because the conditions are probably much better here than in other countries, at least when it comes to money. I’m working on a feature film where the method is more organic and not based on a typical script. I’m surprised how important it is to have a good manuscript and a good story. In the film world I find that the discussion about the form is very specific and not very reflective. I’m guessing that the conditions are great for those who wish to make film in a certain way, but I miss more room for experiments – also from the different institutes.”

– If you could change one thing about Nordic films, what would it be?

“I want more people to get less money. And I think that the directors who want to go to Hollywood should find private investors.”

– Which actors/film professionals from other Nordic countries would you like to work with?

“I want to develop the working relationships I’m already in, and I would like to work with the Danish editor Anders Refn.”

– What is your next film going to be about?

“My next film takes place at a horse center in the northern part of Norway that’s engaged in therapy. I bring with me an actor and I want to explore the relationship between man and horse. There is going to be even more body, animals, nature, sight and impulse.”

av Jeppe Mørch & Marie Andersen / Filmmagasinet Ekko

 

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Directors to Watch: Camilla Figenschou on «To Open, To See»

Directors to Watch: Camilla Figenschou on «To Open, To See»

– The idea for To Open, To See came at the same time as I was doing a photo project where I was photographing children in Lofoten where they were holding a heart from a minke whale.

Ten short films from Nordic “Directors to watch” follows the December issues of the Nordic film magazines RUSHPRINT in Norway, EKKO in Denmark, Episodi in Finland and FLM in Sweden. One of them is the director Camilla Figenschou with «To Open, To See»

– How did you get the idea for the film?

“The idea for To Open, To See came at the same time as I was doing a photo project where I was photographing children in Lofoten where they were holding a heart from a minke whale. The film became an extension of these photos, and I even used a lot of the same kids for my film. It is difficult to say exactly where the idea arose from because it is so complex and I work impulsively. I thought a lot about what drives a narrative forward and in my film I’m playing with the idea that they are more and more controlled by a common physical energy that nature takes care of. An energy that they are both a part of and enslaved by.”

– What was the biggest challenge of making the film?

“To start with I had to convince the producer. Then I had to prepare myself as good as possible, so that I could let go of control later on, be in it, be calm, watch and let whatever happened happen. When the moment came, where the children cut through the stomach of the porpoise, they completely forgot about the camera and got carried away by their own concentration, curiosity and body. The film crew became invisible to them and I didn’t want to disturb, I just had to be there and watch. Being in the unpredictable is both a challenge but at the same time it provides a stimulating kick reminiscent of extreme sports.”

– Which feelings do you hope the audience is left with after watching the film?

“I want the audience to enjoy the film and to share the curiosity with the kids and then later on become ambivalent about the whole thing before they are left with a fearful joy.”

– What has this film meant for your career?

To Open, To See has meant a lot to my career. It has been screened at festivals, it has won awards and last but not least has Gunnar Iversen written about it in the Norwegian film magazine Rushprint. It generates interest and curiosity. The film contains a lot of my personality and a lot of the ingredients that I have used in my other art projects. That people like it and want to watch it means that I can continue to make films.”

– Why does the film look the way it does – aesthetically and stylistically?

“The story is set in a time and space where I can move around with whatever perspective I desire. I can be narrating and I can be observing. I’m not that interested in a good story, I just like to watch. To work out a form for the content is by far the funniest thing and also the most personal. It provides a wonderful opportunity to create a film that I would like to watch myself. It is important for me to create a universe that is separated from the reality we live in. Then I can do whatever I want and focus on subjects that I choose myself.  The universe of the film gets its own logic and realism. In this film my plan is also to seduce and distract the audience until they find themselves in the middle of the whole thing. Overall I like to distract because people are so quick to make decisions.”

– How do you feel about the result today?

“The film has become a thing on its own. I no longer evaluate what is good and what is bad. It exists and is seen by people all over the world. I’m very happy about that and I’m happy that I still feel a fearful joy when the kids go crazy in the film.”

– What was the most important thing you learned during the making of your film?

“It is important to follow one’s own will. And it is important to work with people that you get inspired by. In general I really learnt a lot because this was only my second short film made with a film crew. I learned that having a good assistant director is amazing, he really helped me to stay focused.”

– Which Nordic directors inspire you?

“Bergman and von Trier.”

– How would you describe the conditions for making feature films in Nordic countries?

“It is hard to complain because the conditions are probably much better here than in other countries, at least when it comes to money. I’m working on a feature film where the method is more organic and not based on a typical script. I’m surprised how important it is to have a good manuscript and a good story. In the film world I find that the discussion about the form is very specific and not very reflective. I’m guessing that the conditions are great for those who wish to make film in a certain way, but I miss more room for experiments – also from the different institutes.”

– If you could change one thing about Nordic films, what would it be?

“I want more people to get less money. And I think that the directors who want to go to Hollywood should find private investors.”

– Which actors/film professionals from other Nordic countries would you like to work with?

“I want to develop the working relationships I’m already in, and I would like to work with the Danish editor Anders Refn.”

– What is your next film going to be about?

“My next film takes place at a horse center in the northern part of Norway that’s engaged in therapy. I bring with me an actor and I want to explore the relationship between man and horse. There is going to be even more body, animals, nature, sight and impulse.”

av Jeppe Mørch & Marie Andersen / Filmmagasinet Ekko

 

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