Crítica: Fahrenheit 451 (Ramin Bahrani, 2018) Crítica: Delirium (Dennis Iliadis, 2018) Crítica: How to Talk to Girls at Parties (John Cameron Mitchell, 2017) Crítica: Holiday (Isabella Eklöf, 2018) Crítica: Psiconautas, Los Niños Olvidados (Pedro Rivero, Alberto Vázquez, 2015)

miércoles, 25 de julio de 2012

Nido de Cuervos Interview Adam Rehmeier

I always like to start interviews with all artists asking a question: Could you define your work in one word? Defines THE BUNNY GAME then.... just a word RELENTLESS NDC-Can you explain your motivation at the time of building THE BUNNY GAME story?

A.R-My motivation for making THE BUNNY GAME was really just an excuse to collaborate with Rodleen Getsic on a film project. This was a personal project, filled with spontaneity and exploration. It was an opportunity for us to play music together, but instead of instruments, we used a camera and costumes.

NDC-How did the Adam- Rodleen alliance started?

A.R.-After I met Rodleen in 2000, I would run into her from time to time socially or at shows in LA. We both make music, so we decided to collaborate and make some tracks. Gradually, we integrated photography into our experiments, which lead to the idea of making some type of film. In 2006, we spent a lot of time brainstorming ideas up in La Conchita, and later doing some test shoots in Topanga Canyon and my bombed out guest house in the Hollywood Hills. Originally, we planned to make a film with Gregg Gilmore, who backed out at the last minute and sent the project into limbo for several years. It wasn't until around Halloween of 2008 that we would begin production on THE BUNNY GAME.

NDC-How did you live through Rodleen's preparation to face Bunny? I mean, she was 40 days deprived. Do you think that this expiation was necessary?

A.R.-Rodleen's preparatory process for the film was very unique and completely her own. I would never be able to fast like she did for forty days, there is just no way. She's a very strong spirit. Actually, she was only planning on fasting for one cycle of the moon, initially, but we ran into a little trouble with financing and settling on dates so we weren't able to shoot her scenes until 40 days into her fast. The process made her very clear, hyper aware. The scene where she is eating the french fries is truly the first food she has eaten in forty days!

NDC--Do you think that Rodleen won Bunny?

A.R.-I'm not very comfortable answering anything that might be taken as a SPOILER. The viewing process is very subjective, so I think it is completely up to the viewer how they interpret the film.

NDC-What does Hog represent?

A.R.-Hog is a predatory force of nature. He's a fast moving black hole, a shark endlessly chewing it's way through an abyss.

NDC- Let´s talk about genre. I am unable to find a word that defines the genre in which you can classify THE BUNNY GAME, and understanding that should not be necessary, I also understand that some people need a kind of reference to approach THE BUNNY GAME. Thus TBG has also been defined by some readers and staff members as a torture porn for the apparent lack of argument of the second part of the movie. Could you give us your honest views on this subject? Do you feel uncomfortable with tags?

A.R,-To call THE BUNNY GAME torture porn is pretty limiting. Rodleen and I never set out to make a film that could be classified as torture porn. I think it's easier for some people to lump it in that category, but many of the people that need to define the film haven't actually seen the film. I think my favorite analysis of the film was from James Brown III, who contributed to the soundtrack. He labeled it "PSYCHOLOGICAL GORE." In my mind, he nailed it! I hope it sticks!

NDC- Do you think that suffering can be fought with more suffering?

A.R.-In many ways, Bunny is dead from the start of the film. She's reduced to just a shell of a human, caught in a loop of cocaine, prostitution and fried foods. She's on her last legs, barely present in the world. She floats along like a ghost through the city. Her abduction and suffering under the trucker bring out her animalistic survival skills. Suddenly she is hyper-aware, fighting for life. Her ordeal forces her back into reality, although it is quite a grim situation.

NDC-Was it complicated to direct the scenes with such an explicit sex?

A.R.-I wouldn't say any part of the process was complicated, but the entire experience was emotionally draining. I only shot one take of everything, as it was impossible to repeat action and expect the same emotional impact, let alone the problems that arise in continuity when an actor is being branded or having their head shaved. It was truly an intuitive process. Rodleen and I were very patient and didn't rush any aspects of the production. We established the atmosphere and allowed things to manifest in their own way and time.

NDC-Why did you choose the use of images in black and white?

A.R.-Black and white stripped everything down to a primal level in THE BUNNY GAME. It takes away all the psychological visual cues associated with color and focuses the attention to the action in the film.

NDC-Obviously the music in THE BUNNY GAME is a character more that it marks all the situations and sensations, What relevancy do you give to the soundtrack in this movie? Did the music asphyxiate you as it did with the audience?

A.R.-The soundtrack is incredibly important to me, as it is half of the experience. After I finished my edit, I started recording the soundtrack using Rodleen's voice and the lead instrument. I recorded the ambient music myself, using a combination of analog and digital methods, but I was unhappy with a few areas so I enlisted the help of local band HARASSOR, who ended up contributing several tracks. Their music really helped set up the attitude of Bunny, right from the start of the film.

NDC-Is it better to suggest or show?

A.R.-It depends on what you are trying to achieve. Obviously, since the violence in THE BUNNY GAME was not faked in any way, we deemed it important to show. It gives the film a different feel, sometimes breaking a wall with the viewer, since your brain knows the difference between an FX shot and real violence. Even though there is no onscreen blood or gore, the squirm factor is elevated by the sights and sounds of real pain.

NDC-the end of the movie can be interpreted in different ways ... was it your intention to show a bit of hope?

A.R.-I'm not sure there is much hope by the end of the film. For me, there is just relief that the film is over and the bombardment of negativity has ceased.

NDC-Can you tell us about future projects?

A.R.-Right now I am finishing up post-production work on my 2nd feature film, JONAS, starring Gregg Gilmore. The film is a loose adaptation of the biblical tale of Jonah and the Whale. After mysteriously washing up on a desolate beach, Jonas Nuckolls travels to Los Angeles where he goes door-to-door, revealing a powerful message to those he encounters. It's a bit of a departure from THE BUNNY GAME, but don't worry, I have more genre madness on the horizon.

Thank you very much for giving Nido de Cuervos a chance to interview you. I want to personally congratulate on THE BUNNY GAME, a film that has struck me, it has removed me, and impacted me in a special way. I commend your bravery for leading the way you've made ​​a movie that you know is not easy, and it can not be understood even by those who love horror movies. It has been a pleasure Adam!!!

2 comentarios:

The Wrong Girl dijo...

Muy buena entrevista! Si, señor.
Congratulations, Missy!

La verdad es que esta película tiene miga... no se si quiero/puedo verla. :(

Missterror dijo...

Dale una oportunidad, sea cual sea el resultado es de esas que hay que ver!!!!

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No seas tímido/a y comparte tu opinión con nosotros, pues en la diversidad está el gusto. Eso sí, intentemos no destriparle la película a nadie y avisa de SPOILERS al resto de lectores siempre que tu comentario los contenga. De no ser así, este será eliminado. Gracias.