How many times did I get scare doing this project?
Oh boy, I can't tell you ;-)
But what I can tell is that the experience of doing it was better than winning any awards. We started aiming to shot 100 images but we ended with 35. Many situations were planned and executed with time and others improvised as new ideas (and problems) came to the set. For 6 weeks we prep to shoot 2 days in Montevideo. ​
A good moment to illustrate that was the scene of the monk setting fire on himself. The idea didn't work on the first attempt and we end up shooting on the second and last day. This scene was actually the last one and one of the most interesting shots. We choreographed the camera movement with the actor pouring "gasoline" on himself and then replaced for the third and last doll to set fire.
The first attempt on Day 1. We burnt 2 out of 3 dolls to realize that didn't work, and on the second day at the quarry.
The camera work was an important part of the concept. The ability to walk with the camera was key to make the narrative idea of a camera that gave to the photographer mobility. So the only option was a camera named Alexa M. A system that works like the Rialto in Sony Venice. 10 years ago this was a very sophisticated camera and gave us the mobility that we wanted. Ironically we didn't use any Leica lens. we use the Cookies S2 in a Movi rig. On the right picture Bjorn as Helmut holding the camera with 30 meters of cable behind.
Filming in LA you can find a dream team or a nightmare team. Fortunately, this one I was in great company with the crew. First thing is to find the less obvious places - quite hard in a film-oriented city. The night and wet atmosphere helped to extract from the locations good frames.
During a couple of weeks, we scouted from downtown LA to downtown Long Beach - One extra component was the Christmas Lights to avoid.
One good lesson I had during this shooting was a good one on the matter of planning the shooting days. This project was really organized and followed a precise schedule. And because of that, we were able to improvise a couple of shots. I remember this quote saying “you need to get on the set with 80% of the film on your head. The other 20% are the unpredictable things that can make it magic”
During the second day at the company move from the Fencing location to the tunnel we saw this shadow projected on the wall from one of the crew members. It was an instant inspiration to the shot on the duel.
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You can call something between peculiar and rude about a place where people can smoke cigarettes inside restaurants and hotels lobby. Where the taxi driver shows you a catalog with prostitution services. But this land is also home of a nobleman who protected his people against the invader ottomans with such bloodthirsty that became a legend. Also the land of Constantin BrâncuÈ™i with his brutalism in stone or Nadia Comaneci reaching the highest score in Olympic games. This place has a history, ancestral energy. from the brutal nature and the people. This the brutal and beautiful Romania.
Ljubljana is a fantastic city, with a lost in time atmosphere. Beyond the dragons, Slovenia's capital has cold air and warm people. There are no skyscrapers or gigantic avenues. No massive amount of people walking on the streets.
The air of the mountains blows the megalopolis syndrome away. Hockey is a national sport for Slovenians. They are born with the blades on their feet.
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Slovenia has a great technical crew, gaffers, grippers, camera operators, art department, and production.
Summer, 2021 - Shot in São Paulo, and Curitiba
Together with the Youth and Vira Lata we shot this film in 3 days - 2 in Curitiba and surrounding and 1 in São Paulo.
As usual, the weather was a challenge. At the end of summer, rainseason are expected from North to South of Brazil.
Rain, lightinings, winds, cold and masks
The production couldn't be more challenging. But the skies and lights are beautiful. One of the greatest set ups on this film, was the analogic bullet time. Eighteen analogic cameras were placed on sticks to create this stunning in-camera effect. Cheers for the wizards.
Every production you learn some lessons. During this one, I had great learning about mother nature. Our team faced 2 days of rain, cold, fog, mud, and an old tractor that mess up with everyone's back.
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The first shooting day was in Torres, Rio Grande do Sul State, and was perfect weather and the flow was smooth like a baby's dream. Then we moved up the hills, and headed to Serra do Rio do Rastro. A place in the haven, literally. The weather changes in the blink of an eye. The first day started with rain and fog, we couldn't see 3 feet away. We did two shots and wrap. The day was lost.
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Usual stress. More than 100 people waiting. Change plans, wet feet. The art department had to change the location because of the strong wind. At night in the room, after meetings, I look at the window and there's no clouds in the sky, just stars. I ran to call the others, excited, and filled with hope. As the other approaches the window and look at the sky, there are no stars. The sky is covered by clouds again. The crew was sure that they had lost the director for the weather day fever.
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The weather up the hills has its own rules. The next day starts and during the next hours, rain, cold, fog, sun, heat, wind, clouds, and the blue sky played with our little hearts. Some magic moments happened for our own sake. the sun, the fog, and the rain combination created a unique atmosphere, We returned back home exhausted, in silence, with bruises and scratches. But with a good sensation in the air.
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Thanks, mother nature.
