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Treating digital media as a film and loving the film more than the director were just two of the ideas presented by three creative professionals interviewed Tuesday at the Karlovy Vary Festival as part of Varieties The second edition of the panel, led by Peter Caranicas, General Manager of Variety Variety broadened his investigation of film professionals, exploring the processes and approaches of three companies in demand. technicians from Central and Eastern Europe: the director of photography Matthias Grunsky, who supported the film "Support the Girls" of Karlovy Vary, the publisher Jana Vlckova, who has "Bear with Us" and " Winter Flies "at the festival, and the sound designer Jonas Maksvytis, who worked on" Jumpman "from Karlovy Vary.
The event, organized in partnership with Barrandov Studio and Czech Anglo Productions, drew an audience of film veterans on the balcony terrace of the Thermal Hotel, Discussions began with a screening of the Grunsky's work on movies, including Computer Chess, Results and Support the Girls, by Andrew Bujalski.
Asked about their working relationship with the filmmakers, Vlckova said that in the following edition involves an intensive contribution from both sides. "I have to feel like a partner," adding, "That's why we become friends or we do not work."
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Maksvytis agreed, but noted that sound designers generally enter the film process only in later stages, while cinematographers and editors usually read scripts very early
. Filmmakers are often the first person an artist turns to after "cutting". "They are showing their inner soul," he said, noting that he feels compelled to offer encouragement, especially when cranes or other heavy equipment invades the company. intimacy of a scene. "I think they need that," he says.
During post-production, the editors are so immersed in the shades of faces, voices and gestures of the actors, says Vlckova, that she believes they know them intimately – though the actors never seem to feel in the same way. It's not necessary to like the director but you have to "fall in love with the picture," she said.
The session also questioned the three on the future of filmmaking as the digital revolution and the advent of streaming transform the industry. "I hate to think of shooting for an iPhone," admitted Grunsky, although all filmmakers confess that their work must be seen or heard on any device or screen that best suits viewers
. Grunsky said that the best director of photography would never ask first what equipment is rented. Instead, they will want to hear what the film tells, and then base the camera's choice on what will best tell this story.
"There is too much talk of technology," he postulated. Vlckova is satisfied that the films she works on are seen, regardless of the support the viewer prefers.
The panel series highlights "the brilliant individuals who create the images and sounds that make up the magic of movies". internationally recognized creative fields, including cinematography, production and design and costume publishing – and to explore how artisans work with directors, producers and actors.
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