– I hate it when dialogue in films about young people feels written by grownups.. I wanted the way of speaking to be authentic and feel real.
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 the directors is Gabriela Pichler with «Scratches»
– How did you get the idea for the film?
“I had some subjects that I wanted to explore, and because I was still in film school – this was my graduation film – it was the perfect place to experiment in. I wanted to work with a group, have lots of people in front of the camera, fragments of individuals, instead of one single main character. I wanted the way of speaking to be authentic and feel real. I hate it when dialogue in films about young people feels written by grownups. This also made me want to try working with amateur actors, which determined the moving camera and shooting outside without advanced lighting. I wanted to shoot on one single location – a closed down factory – with all of the aesthetic qualities that it provided.”
– What was the biggest challenge of making the film?
” My cast was 22 youngsters between nine and nineteen years old. And a cat. We were shooting outside. That made the whole situation often very unpredictable … and you had to be very flexible with what could happen during one day of shooting. But it was fun to work with them!”
– What has this film meant for your career?
“It gave me the Guldbagge for best short film and recognition at film festivals around the world. That was an important matter when I was starting up my first feature film project called Eat Sleep Die as a newly graduated film director right after film school.”
– How do you feel about the result today? – What is good and what is bad?
“It is an attempt to do something different. I did not want to focus on story, but on situations and conversations. And when you take big risks and want to do something different you sometimes end up with a film where you like what is fresh in it, but lack some other stuff, like story for instance. But as an attempt or investigation I find it interesting. I love the characters and the natural acting. And the fine work that the producers, Tobias Åkesson and Mirja Hildbrand, did. The risks taken and the ability to think in new ways of making film are a big strength in a producer.”
– What was the most important thing you learned during the making of your film?
“To stick with your ideas.”
– If you could change one thing about Nordic films, what would it be?
“The representation of those who get a chance to do films. The film business is still very homogenic regarding ethnicity, social class and gender. That affects the quality of films.”
av Jeppe Mørch & Marie Andersen / Filmmagasinet Ekko
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 the directors is Gabriela Pichler with «Scratches»
– How did you get the idea for the film?
“I had some subjects that I wanted to explore, and because I was still in film school – this was my graduation film – it was the perfect place to experiment in. I wanted to work with a group, have lots of people in front of the camera, fragments of individuals, instead of one single main character. I wanted the way of speaking to be authentic and feel real. I hate it when dialogue in films about young people feels written by grownups. This also made me want to try working with amateur actors, which determined the moving camera and shooting outside without advanced lighting. I wanted to shoot on one single location – a closed down factory – with all of the aesthetic qualities that it provided.”
– What was the biggest challenge of making the film?
” My cast was 22 youngsters between nine and nineteen years old. And a cat. We were shooting outside. That made the whole situation often very unpredictable … and you had to be very flexible with what could happen during one day of shooting. But it was fun to work with them!”
– What has this film meant for your career?
“It gave me the Guldbagge for best short film and recognition at film festivals around the world. That was an important matter when I was starting up my first feature film project called Eat Sleep Die as a newly graduated film director right after film school.”
– How do you feel about the result today? – What is good and what is bad?
“It is an attempt to do something different. I did not want to focus on story, but on situations and conversations. And when you take big risks and want to do something different you sometimes end up with a film where you like what is fresh in it, but lack some other stuff, like story for instance. But as an attempt or investigation I find it interesting. I love the characters and the natural acting. And the fine work that the producers, Tobias Åkesson and Mirja Hildbrand, did. The risks taken and the ability to think in new ways of making film are a big strength in a producer.”
– What was the most important thing you learned during the making of your film?
“To stick with your ideas.”
– If you could change one thing about Nordic films, what would it be?
“The representation of those who get a chance to do films. The film business is still very homogenic regarding ethnicity, social class and gender. That affects the quality of films.”
av Jeppe Mørch & Marie Andersen / Filmmagasinet Ekko
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