En Christophe Farnarier m'escriu: la seva pel·lícula documental LA PRIMAVERA serà d'aquí sis dies al festival IDFA, l'International Documentary Film Festival Amsterdam!
En Christophe és un francès que viu a Catalunya. Fotògraf i director de fotografia. Amb ell també vaig treballar a la mescla d'EL SOMNI, amb el personatge entranyable d'en Joan Pipa, el pastor.
Christophe és un apassionat del que fa. Escriu (i ho subscric totalment):
Filming is an act of love. To me, shooting a movie proceeds from desire. Desire for the subject, for the person being filmed. Desire to see the movie materialize. Thus every time I take up my camera, I find myself in a jubilant, ecstatic state of mind. My kind of cinema is direct, spontaneous, without theoretical interference. Good filming comes from the heart… On the other hand, I believe that a certain amount of restraint is desirable.
At a time when movies tend to drown in special effects, I look back to the pioneers for austerity. Through their example, I am reaching for a purer language; I find my liberty in simplicity. I believe in spending a lot of time with the people I film. I must allow them time to forget the camera.
Mine is not a hidden camera, these are not stolen images or an infringement on their privacy. I become a part of their surroundings, of everyday life, so close to them that they do not see the camera any more: their natural behaviour and attitudes are preserved. In this search for a rugged, organic reality, I resort to a staunch approach to image and sound: no technical tricks, fancy lighting nor synthetic additives.
Painting and photography have been a strong influence in my work. Chiaroscuro and mystery are just as necessary to cinema as they are to painting. I find inspiration in the way Vermeer, Goya or the Impressionists managed to sculpt natural light, or in the work of great photographers like W. Eugene Smith, Walker Ewans, Roy De Carava, Robert Frank…A la foto, Carme Fajula, protagonista del documental.
The camera and mic are the eyes and ears that first record what is happening. I am the first spectator of the future movie: this image and this sound are what the audience is going to see, and they must convey the intensity of the human experience I am going through while filming. The final movie somehow exists inside me, I guess. I am merely going on a quest for it. The unforeseen is always best.