WomenCinemakers vol V WomenCinemakers vol V | Page 47

very complex one, especially on a short format, but it needs to
work! There are two sayings that can summarize what I just said
in an extre mely efficient way: ess is more and how, don
tell The blocking took a very important role in the narration of the
scenes - like the proximity or the physical distance between the
characters, the use of a clean shot or a irty one, trying to show
how each character sees the other those are all storytelling tools
and knowing that, each scene needs it own time, it HAS it own
time.
How did you conceive the character of Hans?
When I write, I need to ee the characters, in my head. I need to
feel them alive See how they move, how they dress, how they
speak. Know how they relate to others and to the environ ment
around them. This was my thesis project and I remember telling
the School Coordinator I would rather not shoot, than shooting
with someone that wouldn fit the part (we were talking about the
main character, precisely). To some extend, you know the
characters you write as if they would be someone you know for
real. And then, the casting process, almost feels like a d
vu
when you meet the actor you know you will be working with. I was
visiting another set when I saw Dimitri for the first time. I saw him
acting out one scene and that was enough for me. I knew, straight
away, he was ans Now, I only needed to find a way how to
approach and present him the project.
The actors in As The Days Went By did an excellent job, how
did you collaborate with them?
We met for a couple of sessions before the shoot in which we read
the script and discussed several aspects of it.
I remember the first time I met Caroline Filipek (who plays
enny . We sat down at a caf and we spent one or two hours,
just getting to know each other.
I had contacted her agent and the meeting was set. This was the
first time she would be acting in English but I knew that would be
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