Gabriel Gauchet: "Even within, I can find all the freedom I want" | Format Short - Regards plural of a singular size
In a few days, Gabriel Gauchet present "Z1" in international competition at the Locarno Film Festival. Last year, he won there the Pardino gold for "The Mass of Men," which we have presented it a few days ago on Short Format. Seeing this film school at the last Festival of Grenoble, where he was awarded the Grand Prize, the Jury Prize press and Special Jury Mention young, we were surprised uf by the originality of its subject, its palpable tension and quality of interpretation of its two main actors. uf There a few years ago, we had briefly met Gabriel Gauchet for another student film, "Efecto Domino." In Grenoble, we have found, this time longer, to exchange information about his career, interests, and desires of cinema.
It is a necessity. To make films, I had to find a way to get funding. I inquired about scholarships. As I was too young to start a film school, I learned African languages and I specialized in Senegal. I received a scholarship to go and with the money, I began to make films there. These films, I sent along with my application to the school uf of Cologne, the KHM (Kunsthochschule für Medien uf Köln). I was taken and I was able to access all the material and with that I wanted to make new movies. This is how it all began. After I received other awards including one that allowed me to study in Cuba. I was able to do, "Efecto Domino" in Havana. uf
When I returned uf to Europe, I felt that it was not yet time to really get into the profession because I suspected it was going to take several years to develop a first film. "Efecto Domino" worked very well in festival but nobody really seemed interested to have a coffee with me. So I applied for another grant to continue my studies and do other films. It is in short, uf a form far from shopping, you can really experiment, find freedom.
I observe a lot and I ask my friends filmmakers how it goes for them. They all have problems with production houses. Once you have the support of the state, you are asked to change things in your scenario. Production companies think much about television and a standard head to the movies. In short, I think it should not be standard, but should be able to tell we want to develop uf the things we want. After all, it takes less risk than a long.
Short, it will never end. I see that my teachers are much shorter than long. They tell me that if I have an idea for a short, I need to make one. The film I just finished is a mixture of "horror and drama. It was a great experience, but outside of school, no one would have given me the opportunity to do so, no production uf would have shown interest. It seemed to me that it was a good pitch, a good idea, but it would have been difficult to produce. The truth is they do not like to experiment. Everyone talks about innovation, but in the end, nobody dares, everyone is afraid. At the same time, I understand: there is a lot of money at stake and a reputation to maintain.
In Cologne you made a rather experimental film ("Die Kneipe") in Havana, you worked around violence, voiceover, tension, and NTFS, you could try other things. What three formations brought you? Are they complementary?
The school in Cologne is an art school, it is not organized as a film school. At the time, we could make films as they wanted. I could disappear, make my movie somewhere, come back and show it to the teachers. This is the opposite of NTFS for example, where in ten months, you turn three films and you develop multiple projects and different worlds, which is very difficult to do. In Cologne, I learned to make movies as I wanted. I had time to find my style to ask me questions about the actors. When I went to Cuba, I had great teachers. We worked all the time with the actors, it was not done in Cologne. uf Suddenly, I was dan
In a few days, Gabriel Gauchet present "Z1" in international competition at the Locarno Film Festival. Last year, he won there the Pardino gold for "The Mass of Men," which we have presented it a few days ago on Short Format. Seeing this film school at the last Festival of Grenoble, where he was awarded the Grand Prize, the Jury Prize press and Special Jury Mention young, we were surprised uf by the originality of its subject, its palpable tension and quality of interpretation of its two main actors. uf There a few years ago, we had briefly met Gabriel Gauchet for another student film, "Efecto Domino." In Grenoble, we have found, this time longer, to exchange information about his career, interests, and desires of cinema.
It is a necessity. To make films, I had to find a way to get funding. I inquired about scholarships. As I was too young to start a film school, I learned African languages and I specialized in Senegal. I received a scholarship to go and with the money, I began to make films there. These films, I sent along with my application to the school uf of Cologne, the KHM (Kunsthochschule für Medien uf Köln). I was taken and I was able to access all the material and with that I wanted to make new movies. This is how it all began. After I received other awards including one that allowed me to study in Cuba. I was able to do, "Efecto Domino" in Havana. uf
When I returned uf to Europe, I felt that it was not yet time to really get into the profession because I suspected it was going to take several years to develop a first film. "Efecto Domino" worked very well in festival but nobody really seemed interested to have a coffee with me. So I applied for another grant to continue my studies and do other films. It is in short, uf a form far from shopping, you can really experiment, find freedom.
I observe a lot and I ask my friends filmmakers how it goes for them. They all have problems with production houses. Once you have the support of the state, you are asked to change things in your scenario. Production companies think much about television and a standard head to the movies. In short, I think it should not be standard, but should be able to tell we want to develop uf the things we want. After all, it takes less risk than a long.
Short, it will never end. I see that my teachers are much shorter than long. They tell me that if I have an idea for a short, I need to make one. The film I just finished is a mixture of "horror and drama. It was a great experience, but outside of school, no one would have given me the opportunity to do so, no production uf would have shown interest. It seemed to me that it was a good pitch, a good idea, but it would have been difficult to produce. The truth is they do not like to experiment. Everyone talks about innovation, but in the end, nobody dares, everyone is afraid. At the same time, I understand: there is a lot of money at stake and a reputation to maintain.
In Cologne you made a rather experimental film ("Die Kneipe") in Havana, you worked around violence, voiceover, tension, and NTFS, you could try other things. What three formations brought you? Are they complementary?
The school in Cologne is an art school, it is not organized as a film school. At the time, we could make films as they wanted. I could disappear, make my movie somewhere, come back and show it to the teachers. This is the opposite of NTFS for example, where in ten months, you turn three films and you develop multiple projects and different worlds, which is very difficult to do. In Cologne, I learned to make movies as I wanted. I had time to find my style to ask me questions about the actors. When I went to Cuba, I had great teachers. We worked all the time with the actors, it was not done in Cologne. uf Suddenly, I was dan
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