5 QUESTIONS: MARINA DE VAN!

Marina De Van is a director/writer/actress that walks along her own path (see her response to question #3). With only two feature films and a handful of shorts under her belt (with a third feature, Dark Touch, on the way) De Van has not only made a dent in the art house world but has also carved her own little niche and breathed life back in to genres like Body Horror and the Psychological Thriller (not to mention I consider In My Skin to be one of the best films of the last decade). And since those genres are commonly associated with male directors (Cronenberg, Polanski, Hitchcock, Lynch, etc), the fact that Marina De Van is a woman gives us a different perspective perspective. I imagine some women don’t like to be categorized (or sub-categorized) as: “female directors”, but given that her films focus primarily on women (see question #4), I get the feeling that’s a term she wouldnt mind. While filmmakers like Catherine Breillat tackle the subject of sex & sexuality among women (especially young women) and Claire Denis focuses on the (sometimes) taboos of interracial relationships, De Van focuses on sanity, repressed memories and the female psyche. Whether she means to or not, her work, as well as a few others, challenges audiences and critics to think: Why is it that when a male director gives us an unflinching (yet tasteful) look at sexuality, blood & violence it’s ok, but when a woman does it, it causes a mini-uproar? Films like History Of Violence & Eastern Promises (Cronenberg) or Bug (William Friedken) are met with generally open arms while In My Skin (De Van), Trouble Every Day (Denis) or Anatomy Of Hell (Breillat) were all initially met with hostility. One of the missions behind “5 Questions” is to get a quick lil’ interview from directors, writers & actors that I’m actually a fan of and have written about on PINNLAND EMPIRE which is why this one means so much to me (see my write-up of In My Skin and the blog entry: “Women On The Verge Of A Nervous Breakdown”).

Enjoy…


1. What are the last 3 movies you saw?

Marina De Van: Dark shadows - Which I enjoyed.

Cosmopolis - Which I enjoyed although I couldn't understand the plot.

Old Cats - Might be Spanish or Argentinean. I don't remember and it wasn't good.


2. Who, in your opinion, do you think is the best active director working in film right now?

MDV: I have absolutely no idea, really. There's a lot of interesting stuff. No one in particular whose work I follow with devotion.

Don't Look Back (2009)                                                                      In My Skin (2002)

3. Do you consider yourself a part of the "New French Extremity"?

MDV: Never heard about this concept and I don't feel like I belong to any movement or group. I don't know who the other extremists are and don't want to know. I'm doing my own small path and I don't feel any link with anyone, even if I might be linked without knowing it. I don't go to the cinema very often and I rarely see French movies. I probably haven't even seen the films you have in mind, so…no.

In My Skin                                                                            Don't Look Back

4. Just about all of your films (the ones you've directed) have to do with some kind of transformation, change or manipulation within the female body. Is there a particular reason for this?

MDV: They're female because I'm a female. I can't spontaneously put my own mind in a man's body & soul very easily.
I'm not sure the body is so important though because it's only a place for transformation: nor the content nor the real goal of the transformation, which is rather the self that you can aim through the body.


5. Can you give us a short description of what your new film, Dark Touch, is about?

MDV: Child abuse, haunted objects and killing people. It’s about how a person can still discover their own emotions. Similar to the other films I’ve already done which, unfortunately, are so few. I hope there'll be others…

5 QUESTIONS: JOHN CARLUCCIO

By the mid-90's every element in hip-hop (especially Rap) had gotten some form of shine on film with the exception of DJing & Turntablism. Graffiti was showcased in the classic documentary Style Wars as well as Wild Style and Krush Grove. Breakdancers & B-boys were also showcased in those same films along with more mainstream movies like Flash Dance. Sure, DJ's were also represented in those films but with the exception of Grandmaster Flash's segment in Wild Style, the DJ kinda played the background. And yes, movies like Juice did inspire many kids in the early 90's (myself included) to become DJ's but when you really strip that movie down, DJing & scratching wasn’t really represented as much as we were lead to believe by the movie trailer and advertisements. But there had yet to be a film that focused strictly on the DJ. Specifically the art of turntablism: scratching, battling and using the turntable as an instrument. In 1995 documentaries like Rhyme & Reason and The Show were dubbed "Hip-Hop Documentaries" when in reality they shoulda been called "Rap music & Industry documentaries". Around the same time, filmmaker John Carluccio had begun work on the extensive documentary; Battle Sounds (a film about the art of scratching & turntablism) which was completed in 1997 and became a hit among scratchers, battle dj's and turntablists all over the world. In fact the term; "turntablism" was created during the production of the film, essentially making it an artifact in hip-hop history. The documentary exposed the world to turntablists like; Mixmaster Mike (who later became the DJ for the Beastie Boys), Roc Raida (DJ for Busta Rhymes and was responsible for the scratches on many classic hip-hop albums) and Q-Bert (probably the most recognizable and well known turntablist ever). It also exposed a younger generation of scratch DJ's and turntablists to innovators and pioneers like Grandmixer DXT (grammy award winning artist who scratched on Herbie Hancock's Rockit) and Grandwizard Theodore (the man who literally invented scratching). But most importantly, the documentary showed that scratching was more than just moving a record back & forth and making a bunch of noise.
Unlike other documentary filmmakers who focus on a subculture (or in Carluccio's case, a subculture within a subculture) then abandon it once the project is over, Carluccio became a staple in the turntablist community - He was a consultant on the documentary; 'Scratch' (which wouldn’t have existed had it not been for a film like Battle Sounds), founder of the TTM scratch notation system (a system that allows DJ’s to note/write down their scratching like music notes and to use the turntable as a musical instrument) and has filmed/documented classic DJ battles (2000 DMC US finals), turntablist events like the Battle Sounds festivals and recently DJ Shiftee's 2009 DMC world championship winning set (see video below). His most notable & innovative post-Battle Sounds project would have to be "Hop-Fu" - a live hip-hop meets kung-fu project where DJ's (Excess & IXL) perform a live score using scratching over kung-fu films which has been going since 1998.

This edition of "5 Questions" might be the most personal one as it ties together pretty much the three things that make up what I do in life (architecture/design, film & scratching). Enjoy...

1. What are the last 3 movies you saw? (feel free to elaborate on any of them)

John Carluccio: Prometheus - Liked it, but keep those LOST boys (Lindelof) away from my sci-fi mythology. They will always break your heart.

Only When I Dance - Great documentary about Brazilian ballet. I'm a sucker for films like this (Hoop Dreams, Mad Hot Ballroom, Dark Days, etc)

Safe House - Average. South Africa is slowly becoming the new Hollywood thriller location.


2. Who, in your opinion, is the best active filmmaker working right now?

JC: That's tough, I like Woody Allen, he still surprises me. Paul Thomas Anderson and Darren Aronofsky are always dope. I find Phillip Noyce interesting he did Rabbit Proof Fence, The Quiet American and Dead Calm which I really dug. I wish he would do more stuff like that. I use to say Martin Scorsese, but I think he needs to make a small low budget film again, like Coppola did with Tetro. I'll watch anything from those I just mentioned and Spike Lee, Wes Anderson, Nolan, Eastwood, Jarmusch, Spielberg, Mann, Nolan, Tarantino, Burton, Boyle, Del Toro.... 

Excess & IXL performing "Hop-Fu"                                                DJ Shiftee's 2009 World DMC Set

3. As an architecture graduate who loves cinema, I must ask you: Why the shift from Architecture to filmmaking?

JC: Architecture is a great discipline. Some students at Pratt would call it Archi-torture. I loved it. It's a permanent art, so you have to really know what you're doing and make sure your design is on point. But there is also a limited amount of opportunity to be really creative and expressive in that world. I remember always hearing; "you die on the drafting board", referring to the age that you finally get to really design in that career. So I just had too much creative energy to wait for my shot. Film was more impact-full. A bit less restrictive and just spoke to my passion to communicate one on one with people.


4. Is Hop-Fu something you'd consider taking to television or would you be too worried about what networks would do to it?

JC: We actually had a development deal with MTV in 2001. Morgan Spurlock helped us get that deal. Kung Fu cinema is very exploitive, so I was open to MTV exploiting it too. It never panned out.

Roc Raida & Q-Bert in Battle Sounds (1995)

5. Outside of a movie like Juice or Wild Style, would you consider Battle Sounds to be the first true link between strictly turntablism and cinema?

JC: I'd have to say yes. The term was created at the same time as the production of the film in 95. You got to check out my latest turntablist project at http://blog.dubspot.com/stylus/


BONUS QUESTION: What is your favorite film about or based in Brooklyn?

JC: Dog Day Afternoon, Do The Right Thing, Saturday Night Fever.

5 QUESTIONS: GUY MADDIN!

Guy Maddin is one of the few active directors that serves as a bridge between the past (his exploration in to silent film) and the future of cinema (the various chaotic editing & cinematography techniques). 

His work draws upon the spirit of everything from Sergei Eisenstein to David Lynch's 'Eraserhead' but at the same time he has an originality that cant be found in anyone else's work (along with a Canadian pride that you don't see anywhere else either). The timing on this interview is perfect. Not only does Guy Maddin have a new film ('Keyhole') opening at The IFC Center very soon, but all the recent acclaim, awards and attention that 'The Artist' has been getting for its "throwback" style and homage to silent films has many modern day film enthusiasts (like myself) looking in Guy Maddin's direction for his opinion.

I'm more than pleased that a director of Maddin's caliber would take the time out of his busy schedule to participate in this...



Enjoy!


1. What are the last 3 movies you saw? (feel free to elaborate on any of them)

Guy Maddin: I just caught 'The Eyes of Laura Mars' for the first time in Chelsea in NY. Luckily I caught the second screening of the night, the one NOT featuring running commentary from local benshi phenomenon Hedda Lettuce, a wonderful entertainer for sure, but I wanted to watch this film straight up. I enjoyed it, though I wonder how much screenwriter John Carpenter derived his ideas from the unrealized Hitchcock film The Blind Man.
I've been on a bit of a spree lately, having spent the last two months in Paris, where they have so many great rep houses. There I saw the masterful Sam Fuller 'Pick-up on South Street', a film that looks so much better -- truly GREAT! -- on the big screen! Wow, and what a perfectly controlled and cockeyed tone, and the most brutally choreographed fight scenes, such long takes. Just before that I finally caught up with 'The Fugitive Kind', something i should have watched decades ago. So strange, elliptical, dreamy. I can see why so many filmmakers pay it homage, but their homages are meaningless in the face of the original item. Megatonnage!

2. Who, in your opinion, is the best active filmmaker working right now?

GM: Without a doubt, Sokurov. Then Malick, for those of us, like all Canadians, interested in second place finishers.

3. This is kind of a repeat of something I already asked you, but what is your opinion on 'The Artist'? Obviously I ask YOU this question specifically because many people (including myself) feel that the film borrows heavily from your style of film making. Not saying anyone is copying or stealing from you or anything like that, but there is a valid comparison between 'The Artist' and your work. So I ask again; what is your opinion on 'The Artist'?

GM: Haven't seen it, want to hate it, scared I'll love it.

4. 'Keyhole', you're latest film, is opening in the U.S. very soon. Can you briefly tell the readers what its about and what to expect from it?

'Keyhole'

GM: It's a ghosts meets gangsters genre mash-up, much like Cowboys and Aliens, except that I used the genres to explore a melancholy obsession I have with how we all relate to homes we once lived in, and people we once loved and continue to love in spite of the fact they are dead. The movie starts out with conventional, almost textbook, screenplay structural story-telling, but by halfway through, many of the haunted plotlines are talking to each other instead of to the audience and everything sinks into a morass of dreamily sad memories we can't quite place. I love the atmospheres, and regret the film will be so hard on my distributors. Oh well, I made it the way I wanted.

5. The criterion video where you pick out your favorite films in the collection is easily one of the best ones they've done. Its clear from the video that you're a fan of the Criterion Collection. Realistically speaking; what films would you like to see added to the collection?

GM: Like everyone else who visits the Criterion offices in NY I beleaguer president Peter Becker with suggestions. I really want to see Bunuel's 'Los Olvidados' or 'El, This Strange Passion' get the Criterion treatment. 'Letter from an Unknown Woman' deserves one of their releases, and so does Arthur Ripley's 'The Chase' -- an incredible picture, though it might actually be best for everyone if it remained submerged in the murk of decasia to which it has long been consigned. I learned to love it in that condition, why mess with perfect love!

'Los Olvidados' (Bunuel)

5 QUESTIONS: DJINN CARRENARD

In the late 90's, filmmakers like Lars Von Trier ('The Idiots'), Thomas Vinterberg ('The Celebration'), Harmony Korine ('Julien Donkey-Boy') and a few others proved that you don't need a big budget, cast or crew to make a great film. In somewhat recent years, filmmakers like Johnathan Cahoutte ('Tarnation') and Shane Meadows (who made a short film using only a camera phone) have been carrying that independent, guerrilla style, low budget (although not low QUALITY) film making torch to the next level. But in my opinion no director in recent years has shown the kind of independent spirit as Haitian/French director Djinn Carrenard, who's 2+ hour long feature film; 'Donoma' (a movie we discussed on here last year) screened at Cannes and ended up on the top 10 lists of many French film critics (most notably Cahiers Du Cinema, where he also landed on the front cover last year a few issues back).

Instead of waiting on a co-sign from George Lucas or Martin Scorsese, he used what resources he had and ended up making a great film which is still quite popular in France today (make sure you read his answer to question #4). Additionally, his tireless promotion and closeness with the cast & crew of 'Donoma' mimics that of John Cassavetes or even Rainer Werner Fassbender.


1. What are the last 3 movies you saw? (feel free to elaborate on any of them)

Djinn Carrenard: 'Dangerous Method' - not enough Freud, just enough sex. 'Shame' - Very disappointed. I had great expectations. Take Shelter - To me...a great movie. I was really moved for several days after seeing this one.

2. Who, in your opinion, is the best active filmmaker working right now?

DC: Very good question. At different periods of time I would say: Tarentino, Inaritu, or Spike Lee. I think that right now the concept of the genius is gone. You're not even sure you're going to laugh in a Woody Allen movie anymore !

3. Given the TRUE independent nature of 'Donoma' ($200 dollar budget, guerrilla-style film making, small close knit cast & crew) as well as the success you've received, do you feel it belongs up there with other great independent films like Robert Rodriguez's 'El Mariachi', Kevin Smith's 'Clerks' or 'John Cassavetes' 'Shadows'?

DC: I fought for that, I can tell you. I carried the torch for guerrilla film making. I wanna be part of that club. Let me in !!

4. Was part of the reason you made 'Donoma' to inspire other people to make films without having to worry about budget, permits and other intimidating factors that can cause film making to be difficult?

DC: I made this movie with no budget to make talented filmmakers understand that they should not beg for a producer, instead, scare him by not needing him...

5. The soundtrack to 'Donoma' is great! Will it ever be available on itunes or in stores?

DC: Yes, you just remind me that I have to handle that also !

5 QUESTIONS: BERTRAND BONELLO

For over a decade Bertrand Bonello has been one of the top modern french directors out. His work has been a regular fixture at Cannes (winning the international critics week prize in 2001 for 'The Pornographer'). He's worked with everyone from french legends like; Jean Pierre Leaud, Aurore Clement & Michel Piccoli, to modern day french heavyweights like Mathieu Amalric & Laurant Lucas as well as future stars like Adele Haenele. His name is also commonly associated with other forward-thinking modern french directors like Gaspar Noe & Bruno Dumont as part of "The New French Extremity". So far, his body of work has touched upon everything from pornography ('The Pornographer') and the occult ('On War'), to transgender ('Tiresia') and brothel life ('The House Of Tolerance').
His latest film; 'The House Of Tolerance' wound up on many "Best Of 2011" lists (most notably mine and Cahiers Du Cinema).
His films have been written about and pretty much given praise on PINNLAND EMPIRE (a review of 'Tiresia' is scheduled at some point this year), so its pretty awesome of him to take the time out of his probably busy schedule to answer a few quick questions...


1. What are the last 3 movies you saw? (feel free to elaborate on any of them)

Bertrand Bonello: 'Violence et Passion' (Visconti) - I think the English title is 'Conversation Piece'. Burt Lancaster is genius in this film. And God, Where is the new Helmut Berger?! The film is heartbreaking and brilliant.
- 'Intouchables' - I wanted to know what interested so many French people (18 millions). The film is like "Walt Disney". Not for me, but why not … It shows anyway how much my country is feeling bad.
- 'Meek's Cutoff' - I missed it when it was released. I caught up on DVD. I like the idea that every 3 years you have a new definitive western. Maybe the film is too obviously "author" but I liked it. It says a lot about relationships with Indians.

 
2. Who, in your opinion, is the best active filmmaker working right now?

BB: TOUGH QUESTION! Impossible to answer, but let's play the game: Lars Von Trier, because everything from him is possible. You don't know what is going to come.

3. Alice Houri once told me that you had the cast members of 'The Pornographer' watch Bresson's 'The Devil Probably'. Why that SPECIFIC Bresson film instead of 'Lancelot Du Lac' or 'Un Femme Douce'? What was it about 'The Devil Probably' that influenced or inspired 'The Pornographer'?

BB: It was not the only direction of the cast, but it is true that 'THE PORNOGRAPHER' was influenced by this movie. Its mainly because of the way it shows youth. Not realistic, but at the same time full of truth. This mix was very important for me. 

 
4. I know this question has been asked a million times, but with your latest film; 'The House Of Tolerance' (a movie i consider to be one of the best of last year), what drew your attention to prostitution? What sparked you interest on the subject?

BB: About House of tolerance...my first desire was to do a picture with a bunch of young women. I didn't want to show them with today's problems (find a job, a boyfriend). Then I had the image of them in a brothel in 1900. And for me, the image was strong. In fact, I was much more interested in brothel life than I was prostitution. After that, I started doing some research and I quickly became very moved by these women. Also, it appeared to me that the brothel would be a perfect place for cinema. Like a box for fantasy. Like a brain. 

5. If you don't mind me asking, what specific instruments and/or music equipment did you use for the soundtrack to 'The House Of Tolerance'?

BB: It is a mix of several things. Synths, electric guitars, and Chinese violin for the main theme. Piano and classical percussion (including gongs) for the music that comes in the rooms with all the scenes with the clients.
I recorded as much stuff and as many sounds as I could in several studios, then put everything in my computer to organize the music

5 QUESTIONS: JOHN LURIE

Jazz musician (The Lounge Lizards), film score composer ('Get Shorty', 'Variety' & 'Excess Baggage'), actor (most notably for the films of Jim Jarmusch), former TV Show host ("Fishing With John") & painter John Luire was kind enough to bless this blog. I'm in disbelief. If you follow this blog you'd know that between my fictitious "Fishing With John Series" and my constant exploration in to the cinema of Jim Jarmusch (as well as the "No Wave" scene which Lurie is commonly associated with for both film and music), you'd know that Lurie is a PINNLAND EMPIRE-favorite.
I've been a fan of his since I was a teenager so this really means a lot even if it may not seem like a big deal to some of you (Lurie included haha).
We're on celebrity status now...


1. What are the last 3 movies you saw?

-John Lurie: Ides of March, Contagion, The Bill Cunningham documentary

2. Who, in your opinion, is the best active filmmaker working right now?

-JL: I like the Coen brothers - or kind of every other film I like a lot, PT Anderson, Fincher is pretty great but havent seen the Dragon Tattoo yet

3. Putting aside the imaginary Fishing With John episodes I've done on this blog, realistically speaking, had the show gone on to have a 2nd, 3rd or 4th season, what guests would you have wanted on your show? 

-JL: Mike Tyson, Ralph Nader, Noam Chomsky, Rashied Wallace, Rebecca Hall, Claire Danes, Larry David, Vincent Gallo, Michael Moore, Serena Williams, Vince Vaughn, Louis Black 

4. You've done quite a bit of film scoring in your lifetime so far. Given the recent interest in film scores and soundtracks thanks to guys like Cliff Martinez (Drive & Solaris), The Tindersticks (35 Shots Of Rum & White Material) and Trent Reznor (The Social Network & The Girl With The Dragon Tattoo), what are some of your favorite RECENT film scores? And if you cant think of any recent ones, what are your all time favorites?

-JL: I am thinking. Hollywood doesnt really allow composers to do good scores any more. American Beauty is the last one I can think of.

5. What is your favorite piece of art to come out of the "No Wave" Scene? (this could be a film, album, painting, etc. it doesnt matter) 

-JL: Youre right - doesnt matter

*BONUS QUESTION: What's you're opinion on "Hipsters"? 

-JL: I dont know what hipsters are.

5 QUESTIONS: ALICE HOURI

As it turns out there's quite a few directors, producers, actors & actresses who can be reached without an agent or some type of contact person. Well, I'm taking advantage of that and starting a new series on PINNLAND EMPIRE called; "5 Questions". Instead of a long drawn out interview that I'm sure most filmmakers and actors dread (especially from no-name bloggers) I'm gonna throw 5 quick questions at 'em. The rules are: everyone (and you wont believe some of the filmmakers & actors I got to do this) gets the same first two questions, then 2 custom questions designed just for them, then a final random question with a possible bonus question.
First up, Alice Houri...

Alice and the films she's acted in ('The Pornographer', 'The Secret of The Grain', 'Nenette & Boni', etc) are a regular topic of conversation here at PINNLAND EMPIRE. I'd rather not flatter her again, so to read how cool she is, check out my blog entry from back in May from my first (quick) trip to Paris titled; "My Dinner With Alice"

1. What are the last 3 movies you saw?

Alice Houri: yesterday I saw "Double indemnity" by Billy Wilder. A classic, a genius. Barbara Stanwyck was stunningly excellent! I had a really good time. Last sunday I saw "Shame" by Steve MacQueen. Great movie! The best i have seen in months. The day before I saw "Le Havre" by Kaurismaki (it didn't work for me, i got bored).

Bonus: my week was very "let s go to a movie". I also saw "let my people go" by Mikael Buch. Its a french comedy. In my opinion, not sooo bad for a french comedy (but the main actor is good), and 'A dangerous method' by Cronenberg. I found it well done but without the madness

2. Who, in your opinion, is the best active filmmaker working right now?

AH: Open question. Hard to tell...but i will answer: Asghar Farhadi (winner of the golden bear at last years berlin film fest). He's a maestro of suspense. I cant wait for his next film.

3. US Go Home, the first movie you ever acted in, has become one of the most rare/unseen modern films in recent years (especially for people outside of France). Given Claire Denis' growing international popularity (especially in recent years with '35 Shots of Rum' and 'White Material') do you think there will ever be a chance that 'US Go Home' will get some kind of release on DVD?

AH: I really don't know but i would love that! Maybe it's something you can deal with.

4. Your performance in 'The Secret Of The Grain' seemed very emotionally draining, while your performance in 'The Pornographer' was very laid back, calm and toned down (similar to the acting in a Bresson film). As an actress, what kind of preparation do you do to go from one extreme emotion to the other?

AH: They are 2 different movies. Different styles and different stories. I feel lucky because I've worked with filmmakers who have a very strong and personal universe. As an actor it's the best comfort. You just had to stay available to absorb this universe and translate as the director is asking you to. In an internal way (like 'the pornographer') or in a hysterical way('Secret Of The Grain'). It s a work of collaboration.

5. Am I (Marcus) your #1 fan?

AH: OF COURSE YOU ARE!the president!

*BONUS QUESTION: You've acted in 2 films with Vincent Gallo ('US Go Home' & 'Nenette & Boni'), and made a cameo appearance in a 3rd film with him ('Trouble Every Day'). I have to ask, what is Vincent Gallo like in real life? (you don't have to get too personal or say anything you don't want too, haha)


I was a teen but if I remember correctly, Gallo was crazy, megalo, in love with himself, attractive, temperamental, sexy, self confident, fragile, boor, a gentleman, kind, mean, open minded, narrow minded, etc. Mostly, he's really funny. You cant get bored.