By Hemanth Kissoon
Also on Tuesday, Palme d’Or winning director Apichatpong Weerasethakul came to talk at the ICA after a screening of the restoration of his debut, MYSTERIOUS OBJECT AT NOON.
Six things we learned:
- Winning the Palme d’Or has helped and not helped his career. Apichatpong did receive Hollywood scripts, but he wants to write own films. The win has given more freedom to experiment with videos and installations. Though, he still has not set up a film since the Palme d’Or – it has made him lazy and laid back, spends more time with dogs. Next film going to be about sleeping.
- Apichatpong describes debut as documentary of fiction. It had no script, just a story. He travelled to gather stories.
- Was influenced by Abbas Kiarostami and new Iranian cinema of time, and new Taiwanese cinema.
- When making films now, he has a script, but is flexible; is open to the influences of chance. Apichatpong always gives his director of photography and actors a free take.
- With SYNDROMES AND A CENTURY, he shot the mother part, took a break and rewrote the father part in light of what shot. Apichatpong has to have a deadline, otherwise would keep rewriting.
- Says cinema is a ritual of illusion.
Also on Tuesday, Palme d’Or winning director Apichatpong Weerasethakul came to talk at the ICA after a screening of the restoration of his debut, MYSTERIOUS OBJECT AT NOON.
Six things we learned:
- Winning the Palme d’Or has helped and not helped his career. Apichatpong did receive Hollywood scripts, but he wants to write own films. The win has given more freedom to experiment with videos and installations. Though, he still has not set up a film since the Palme d’Or – it has made him lazy and laid back, spends more time with dogs. Next film going to be about sleeping.
- Apichatpong describes debut as documentary of fiction. It had no script, just a story. He travelled to gather stories.
- Was influenced by Abbas Kiarostami and new Iranian cinema of time, and new Taiwanese cinema.
- When making films now, he has a script, but is flexible; is open to the influences of chance. Apichatpong always gives his director of photography and actors a free take.
- With SYNDROMES AND A CENTURY, he shot the mother part, took a break and rewrote the father part in light of what shot. Apichatpong has to have a deadline, otherwise would keep rewriting.
- Says cinema is a ritual of illusion.
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