CINEMA  
Film director Mārtiņš Grauds. Photo from the personal archive

Thousands of films are released every year, and the quests for form are endless. It has been postulated that cinema, in its rather brief history, exhausted itself already back in the 1980s. Peter Greenway is possibly the greatest searcher for form in film history. I foresee that some changes could take place in regards to interactivity.

Do you want to film something in 3D format?

First I’d like to learn to film things well in 2D! But 3D is another form; it has more entertainment elements than the essence of a story. Nevertheless, I think it depends on the story itself whether or not you want to see and hear it. Imagine if I spat when I spoke, though I told stories in a very interesting way; you’d possibly wipe your face, but either way you’d listen to the story to the end…

Who are your favorite cinematic storytellers?

My favorite period in cinema history is the 1960s and 70s, when film had in a certain sense reached its highest power of expression and professionalism.

By the way, my favorite directors are also quoted in the short film Lust Lust. There are about six or seven references from other films. Film connoisseurs will notice them, but perhaps I’ve hid them a little too much.

I’ve remained faithful to a few of my favorite directors, ever since I first saw their works. And I still watch some of their films with great pleasure.

I’m fond of the work of Leos Carax; Jim Jarmusch first spoke to me when I was seventeen years old; Miloš Forman’s early works, with their understandable humor and drama, speak to me because the director deals pretty directly with the Soviet-era system, in which I’ve lived. It’s no wonder that he was forced to emigrate. I also like the cinematic language of Scandinavian director Roy Andersson—he is faithful to his style.

I like when works speak in their own national language, but manage to be understandable across national borders. 

What are the national aspects in the fashion short Lust Lust?

The national aspect was consciously not put in here. But at the subconscious level it can’t not appear; it is there and it appears, like it or not.

This short film is dominated by general human values. People are more or less alike everywhere—everybody wants to eat, everybody wants warmth and closeness, and if someone is bitten in the arm, it hurts. In broad terms there are no differences.

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