My pleasure.
So Kieran, first off: What is it that intrigued you about this particular short Film?
I was drawn by the concept of a disjointed time-frame. Each divided portal has it's own law of chronology and they seemingly operate exclusively from one another. This is an abstract film that insists on nothing hence allowing the viewer to interpret. I cannot be personally certain what anything in the film means, however the device of a warped time-frame is something that denotes a realistic aspect of life to me: that we naturally and frequently assemble the daily events of our lives in order of perceived personal significance. Loosely speaking, the theory of relativity - something that lasts ten seconds can feel like ten minutes and vice-versa.
What is it that makes SDLB unique in your mind?
Once again time. Across all areas of the production there are anachronisms that consciously point towards a 'time away from time'. Neither the set, costumes nor mise-en-scene give a clear indication as to when or where this piece is set and I feel that if they did, it would curtail the subterranean tradition in the abstract/surrealist genre.
Did you enjoy the experience?
Being that there was no dialogue, I enjoyed the challenge of trying to translate what I could figure-out about this character through mere facial expression. I feel that it gave me the freedom to not have to consider in too much forensic detail where he had been, but rather, think of him somewhat viscerally, responding only to his surroundings.
What fascinates you about acting?
There are many schools of thought on how to act, but for me it really is case relevant. The way I see it is that we all have a personal lexicon that we utilize when we need to associate something with something else, when we require a succinct or immediate answer in order to simplify communication. Therefore we subconsciously begin a lifetime work that involves tracing all walks of life, logging a versatile range of characters and behaviour. All acting is going to that subconscious index and consciously tapping into and imitating it.
Who is your favourite actor of all time and why?
I have never had a problem with making lists and quantifying, I know it's not very fashionable because it's somewhat calculated and methodical nature contradicts the spontaneity of art, but it's just something always done mentally. Therefore I would say that Jack Nicholson is my favourite actor of all time, followed by Mr. Brando. If Brando had had the ideal career then he would have been somewhere orbiting in a different galaxy to anyone else, but his genius had a corollary in the form of megalomania that often obstructed reason. Nicholson is a profoundly intelligent actor, his charisma eclipses that of anyone I've ever seen and because of that, he brings a humanity to the screen that is exceptionally rare. His spirit captured the essence of 1960's America and as a result, he was appointed consummate patron of the 1970's American new-wave movement. Further, growing up with an absent father, when I watched 'One flew over the cuckoo's nest' for the first time at a young age, I thought the guy was my pop for a good year or so.
In your opinion, is there a place for ‘art-house’ Cinema in today’s current Cinematic climate?
It's place is undoubtedly diminished yet all together undoubtable. I don't like the term 'art-house', it's a very reductive label, however if I have to find common-ground and accept the term, I would define it as a picture that isn't made for the sole purpose of generating capital. The worldwide vertically-integrated system of film production reflects the businesslike nature of broader western society, it is an arm of the commercial operation whose purpose is to make profit. What is profitable in show business is at the mercy of trend, trend in turn is at the mercy of the general public, who themselves are at the mercy of advertising and media who are at the mercy of profit. It's a confusing carousel but if an artist can somehow figure a way to climb on without becoming dizzied into a stupor, then he or she could expose the finite nature of the carousel.
Where do you see Cinema going this decade?
It all depends on what decisions are made by an infinitude of individuals, today, tomorrow and everyday henceforth. There is no fate in this thing, the film industry is armouring itself and ensuring that it becomes increasingly impenetrable, like anything insecure. However, it knows that this is impossible. If the demanded criteria of mainstream cinema continues to be increasingly rigorous and stifling to art, then artists will simply figure out a new way to manifest their art. Either this colossal industry will reform or guerrilla filmmaking is an idea whose time has come.
What do you have lined up in the future?
I've got one-eye firmly on the carousel and one-eye cynically cocked at it, I think that's probably the wisest way to be.
For those who haven’t seen the Film, do you have any words that may entice a spectator to do so?
It's beautifully shot, evenly paced and interesting. Even if you get nothing from it's symbolism or technical properties then I think you will appreciate it for it's aesthetic composition.
And Finally… Godfather Part I or Godfather Part II?
Godfather part II. It elevates the medium of cinema to a place that the pomposity of art criticism cannot reach. Often (and in no small part thanks to the internal industry assembly line that produces vacuous production after vacuous production), critics will turn their noses up at the idea of cinema being an artistic medium comparable or on par with literature, theatre, music and fine art. But pictures with such scrupulous regard for detail, so beautifully constructed, encompassing so many universal themes and doing so with such absorbing brevity and depth, are a real rebuttal of such snobbery. For me it is Shakespearean, and is a little glimpse into a kind of cinematic Shangri-la. It continues to set the mark for all of us that came after.
Kieran Andrieu… MODERN GRIEF PRODUCTIONS' spiritual neighbour, thank you ever so much for your time. We wish you all the very best.
Interview conducted by Marlon Marx - 19th March 2011.
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