shrtfilm.com interviews Ludo Vici

258

Today we share with you part 14 in the ‘shrtfilm.com interviews’ series. Constant Hoogenbosch interviews Ludo Vici

What is it that appeals to you about the short film?                                               From the artistic point of view the short film forces you to compress your idea, walk your way through to the center, the core. I would not say it is like a short story, it’s more like the central chapter of an unwritten novel. A chapter that can stand for itself but provides the audience the possibility to phantasise about all the things that happened before and after the events of the film. It’s like a magnifying glass. And also there is the practical aspect that it is doable and through the internet every short film has the chance to find it’s audience.


If you are a filmmaker and want to participate in an interview for shrtfilm.com also, please contact info@shrtfilm.com. We like to hear from you!


What qualities do you believe make a good short film?                                            Like every artistic work the short film should give the audience an experience, it should be moving and open up something in the mind of the viewer and last but not least it should be entertaining. For the artist there are different tools to achieve that. It can be the story, the life changing moment of a vivd character but it can also be the composition of poetic pictures that evolve a special kind of mood, a surreal metaphor that makes you questioning your point of view. For me as a viewer I like it, if a film provokes an irritation, pushes me out of my comfort zone.

To what extent is making short films a stepping stone to making feature films?   First of all for me it is exercise. It´s the chance to try different things. I can experience the whole process, which I really enjoy. There are so many details in the process of filmmaking, so many possible mistakes that it is a very good preparation for a feature. I would not start a bigger project without these experiences. When I watch my films I´m making lists of all the things that are in my opinion not perfect and study what exactly the cause is, why they are not perfect. Did it happen in preparation? Is it technical, a question of light or framing or did I just want too much.

What is the most challenging aspect of making short films?                                  Again you have the two aspects. The artistic challenge to find the right story, the right atmosphere to express what you want to express and to design the right form and then all the questions concerning technics and organisation. Mostly the second part is the one, which is the determining one. So you have to fit in all your artistic ambitions in the conditions. And this is real challenging, because sometimes you don´t want to make compromises, but suddenly you realise that finding a creative way out of the dilemma is not only challenging it is also fulfilling and it makes you growing.

Do you have a preference to a certain genre?                                                              I like putting put the characters in extraordinary circumstances, confronting them with existential questions, drive them to decisions or insights outside their normal construction of their reality. So, you would call this drama. But I like to combine this with surreal elements. I try to cut into the surface and find a kind of poetic way to describe their inner world. But I also want to entertain, suck the audience into the story. Maybe the goal would be to make a kind of a surreal thriller.

What do you like most when making a short film – writing the script – directing – camera?                                                                                                                       To be honest not only sometimes the empty page (computer screen) can be a real torture. You have this amorph plasma of emerging ideas and thoughts rushing through your brain and to find the first step to crystallise one of them into a screenplay is like walking through a marsh. But once you find the first stone to step on, writing starts to become real fun. The experience when things start to grow in your imagination is great. Then in the next step, as I did a lot of theatre, I love to work with the actors, finding the right voice, the right tone, bringing the characters to life. But what I really like, once I managed to overcome with all the obstacles of shooting, is editing. For me it´s just great to play with the material and watch the film becoming a film.

Do you work with a script – where do you get the inspiration from?                     Oh yes, I do work with a script and I have a passionate demand to write it as exactly as I can. Somewhere on this countless articles about writing I read: Edit while writing. And when you are really editing you suddenly just really know what shots you need. So I try to put myself in the position of the editor during writing. I think the more you invest in your writing the more you are prepared for shooting. 
There are also two aspects of inspiration. 
The first one is about the content. The main concept is observation. To pay real attention to the people you meet, listen to their stories, explore their stories. That means not only to listen to what they tell you, but also how they tell it, to feel all impulses and emotions that drive them. And also to pay attention to myself, notice all the things that are working inside me, try to understand the way I act or react the way I do.
The second one is about formal things. Here it is other films, paintings, dreams and very much music.

Do you leave room for improvisation?                                                                     Sure, you can prepare and prepare and prepare ….. and then there comes the big BUT. Improvisation is the spice. You have to give yourself the room for improvisation, and to be brave enough to throw over whatever you thought during the writing process. But still, if you had the patience and the will to work hard and concentrated on your script you might be in the best position to canalise the power of improvisation into the best way to support your story. And by the way in my experience the situation on set forces you to improvise. I always tell me to keep my ears and mind open to the ideas that pop out on set, to listen what the DoP, the lighting people or who ever says.

Did you receive funding for your project?                                                                No. We produced it all of our own. And it was a wonderful experience to see how some people got together and just started doing it.

How did you go about assembling a film crew and actors?                                      Well, I think I just was lucky. It all started when I by chance (or you might call it fate) met Sandra Steffl. I somehow had a idea of that story, but when I met her, it hit me. She´s the one, she is the absolute right person. So I wrote the script for her. 
When I decided to start the project I thought about the people I know and just began to talk about the project. And after all now, I believe in the law of attraction. Once you are really committed to your project the right people will appear. It is not about sitting in your room and staring at your phone. It is about leaving your room and start talking.  There is always somebody who knows somebody. This was the way I got the number of Thomas Bauer, the DoP. Then I managed to convince my daughter, who is a photographer to do the lighting. And there is an old friend of mine, Michael Sigel, with whom I played in the school band 35 years ago. He first built a small music studio and then developed it into a small but very effective postproduction studio, which is now the backbone of our productions. (www.audiomanufaktur.bayern)

What did you use to edit the film?                                                                         I edited this one with final cut pro X. But now I changed to Premiere Pro

What camera did you shoot on?                                                                               Black magic Ursa Mini 4K

Could you name one or two filmmakers that you consider great influences?           I am very much into asian cinema, but by this I don´t mean martial arts. I mean directors like Wong Kar Wai, Park Chan Wok and Takeshi Kitano. And also there is David Lynch and Nikolas Windig Refn.

What are you working on next? Do you already have a new project in mind?          We already finished our second film, in which we tried to get more into the thriller genre with an ironic ending. And I have this weird plan to do a trilogy about death, so the next project will be the second part of that.

What advice would you give to other short filmmakers?                                            I don´t think that I am in the position to give advices but I would like to share my experiences and those sound like many of the advices great filmmakers are telling all the time. So maybe they are true. It´s just: start it. For me I know now there is no other way to learn and to grow. I would like to stress it again. Believe in the law of attraction, because one thing is for sure: If you don´t really decide to do your film, nothing will happen.

Thank you Ludo!


If you are a filmmaker and want to participate in an interview for shrtfilm.com also, please contact info@shrtfilm.com. We like to hear from you!


LEAVE A REPLY

Please enter your comment!
Please enter your name here

Time limit is exhausted. Please reload CAPTCHA.