Film director Sergei Loznitsa was born in 1964 in the city of Baranovichi, Belarus. Later, his family moved to Ukraine where he graduated from the Kiev Polytechnic Institute. He worked in the Institute of Cybernetics, in the domain of artificial intellect. Even after he entered the Gerasimov Institute of Cinematography, he didn’t forget about scientific research; Einstein theory and other scientific discoveries drive him in the world of cinema. His “In the Fog” film, based on the story by Belarusian writer Vasil Bykov, got the FIPRESCI prize in Cannes and won many other industry awards worldwide. — You were born in Belarus, you studied in Ukraine and you live in Germany. “In the Fog” credits list Russia, Belarus, Latvia, Germany, and the Netherlands... So, the question is what country do you represent? — (Smiles.) It’s rather complicated question. When that film was awarded in Cannes, Russian media wrote that it was a Russian film, while Belarusian and Ukrainian media wrote that it was Belarusian (Ukrainian) director awarded. Germans wrote nothing, Danes too (laughs). Such a reaction defines what territory a director belongs to. In my case, I’d discuss not countries (they can collapse even on a scale of one human life) but cultural landscape. It’s quite evident to me. I don’t know how to measure mindset. I can say I’m Belarusian, Russian and Ukrainian director. The influence of Ukraine is serious; I was brought up there; my mother comes from the Don Cossacks, and my dad comes from western Ukraine. My grandfather was a serviceman; he served in Belarus and lived in Baranovichi, where I was born. But I speak Russian and think in Russian. — You’ve become a known director of documentaries, interested in depicting the “here and now”. What did you find interesting in the past, in the times of the WW2? — Once I read Vasil Bykov’s story and was impressed. I was even weeping bitterly. For me, its not a story about war. It’s a story how a person had no chance to prove he was not guilty. This is a story about unfairness and cruelty of life. This topic is rather sensitive for modern Belarus, Russia, and Ukraine. In excitement, I wrote a script for that film. Then, for 10 years, I was looking for an opportunity to shoot it. I tried to start it in 2003, but with no success. Later I was said that nobody would like to turn to the topic of the war. And only when “My Joy” movie was listed in Cannes, I got a chance to work with any topic I wanted, though, with limited budget. It cost me 2.1 million euros to complete “In the Fog” film, the maximum I could get. — It took you a decade to get ready for shooting the film, but as I know the shooting period was very short, right? — It took us record 26 shooting days, yes. To get a result, a director needs to create some energy crater, and everyone in the team should get into it. Otherwise, everything will go wrong. — In one interview you said once that you keep learning different techniques how to attract and keep the attention of the audience. Do you apply that knowledge? — At first, I use sound. It is one of the basic attributes of a film. The sound influences on the audience much. I’ve been working together with Vladimir Golovnitsky, a sound director from Lithuania. He believes that sound is more important than the image, because an eye looks outside, while ears bring information inside. Of course, it is a kind of a joke but it’s true. Sound changes the image. You can shoot a comedy, but add tragic music to it and you will get tragedy. I work with soundtracks thoroughly. When I was working on “In the Fog” movie, we invited even ornithologists. I knew that birds from different regions sound differently... So, crows in the film cry with Lithuanian accent. For me it is important to work with sound, image, light and color. For “In the Fog” film, we used a special desaturated camera film to get an old movie effect. — You’ve been working with Oleg Mutu, a cameraman from Romania... — Just because his manner is fantastic! I think he is the world’s best cameraman. He knows how to make every shot dramatic, how to stress tragedy using a camera. — What inspires you? — Life and my thoughts, I’d say. I’m the source of my inspiration. And books, of course. I read much. For example, I read a book by magician John Mulholland who explains how to cheat people. It’s very interesting. — There is a strong feeling of hopefulness in your movies. Why do you think there is no way out? — That’s what I see in everyday life. I see there is a strong process of social dehumanization. People used to ask me if there was a chance for happy end in “In the Fog” movie. I answered no. First, I think a director’s strength is seen in his ability to put an end. My hero had no other way. The question is not if he could stand up and go away. The question is how that situation could happen. Second, the film was based on the original story by Vasil Bykov that described people in times of war. I turned to that story because it described that aspect of war that had never been discussed before. I would never miss a chance to work with tabooed themes.
Posted on: Sat, 10 Jan 2015 08:27:36 +0000
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