- Is your film based on an original text by yourself? It obviously refers to some French filmmakers from the past, as Alain Resnais, Chris Marker, Godard in particular come to my mind. Were they a source of inspiration for you?
The video is based on a story by Julio Cortazar; Blow up. It has a different title in Spanish, which in English means ‘The Devil's streams’. I tried to create an oriental, exotic atmosphere using French language and Chinese music. I appreciate the names that you mentioned, but I was thinking more about Wong Kar-Wai, when I made it. I tried to imitate the atmosphere in his films. *
- In some of your works it is hard to decide whether it comes out of an (improvised) performance or a tight script or both. Do you sometimes work from a performance, with non-(or non-professional) actors and only afterwards edit it into a film? why have you decided to make a (seemingly) more scripted film in this case? Or was there a lot of improvisation in this film as well?
Yes, the actors had only to follow the script. I never really work from a performance and later edit it. I'm always working with a script. I use non-professional actors, because I think they can be more natural, and they are not interested in expressing their acting techniques, so they can do minimal gestures without complaining. My films are always, always very scripted...
- One of the main purposes of your film seems to be to create an awareness in the viewer that he is actually watching a film, an artificial construction instead of something ´real´. In this way your work also becomes an investigation into mainstream cinema and how cinema works; and a deconstruction of its rules and assumptions. Where does your interest in this come from and what is your strategy behind it?
I don't know where my interest in this form originates from. I guess cinema is the most popular form of entertainment, so it's kind of easy to be interested in this form. I don't know if I have a strategy. I'm trying to make the viewer feel one thing and understand another thing, and let him deal with the contradiction.
- Although your work seems mainly about ´film´ and cinematic rules, returning points of interest also seem to be relationships and the use of language. And mainly the misunderstanding and miscommunication that arises from and exists between them. In your opinion, is there a connection between the three: cinema, relationships and language?
I'm sure ‘relationships’ exist in any form (I'm talking about the basic meaning of the word.) With regards to cinema and language, there could be a connection if one wants to make a connection. I think that language is one of the main differences between European and American films. (Could you imagine a film by Godard in an American accent? It wouldn’t be his film any more, it would look like one of those Indie films I believe.)
Language is just another tool to manipulate the audience.
- Another aspect in your work is the playfulness that seems to jump from the screen. Is filmmaking for you mainly an intellectual act or a lot of fun, or do both go well together?
I don't think it’s either intellectual or fun. It's more of a way to experiment with the way image and sound can create feelings. I don't enjoy the filming process, or the writing process (here and there I enjoy some moments), but I like to see the result of my thoughts.
That's why I make these videos - to see if they will come out like I imagined.
- Can you tell us something about the next project you will be working on?
I'm now editing a long movie I shot a year ago and didn't have time to edit. And I'm working on two scripts for an exhibition in London. I have been trying to write them for the past three weeks already, but nothing comes out at the moment...