Dutch filmmaker Rosto’s retrospective is part of the Tampere Film Festival programme and includes animations. In addition to this, Rosto’s short film Reruns is part of the International Competition.
How did you became a filmmaker? Was it something you always wanted to pursue or did filmmaking find you?
I’ve been trying to make films since my childhood. Always failing miserably of course, but it was just part of the many ways of the many ways of self-expression for a creative kid. I never really had a weapon of choice for my artistic endeavors, I tried and liked everything. But film came back on my radar when the digital revolution started. It became easier and cheaper to fail.
How did you choose the quotes you choose for the beginnings of the Thee Wreckers series? Are those particular musicians somehow meaningful to you?
The quotes have been chosen especially for the Tetralogy as a whole (they are not part of the original stand-alone films). It was important to me that they would contribute something to the experience of the film, calibrate your mind in a way. Next to that, that the eclectic ensemble of musicians had to -somehow- represent our influences. But most importantly, they had to be dead. Above the surface of that ocean of dreams and memories float the spirits with profound and less profound wisdoms.
You combine different mediums and art forms, I mean Mind My Gap consist of short films and graphic novels. Thee Wreckers Tetralogy on the other hand has live action shots combined with animation. Is this intentional or do you come up first with the idea and then think about the best way to convey it for your audience?
To me it’s obvious that it always starts with “the dream”. Next you have to chose the arsenal of techniques that is not only best at conveying this vision but is also guaranteed to be an adventurous journey in itself. Making these films takes up a lot of time, a big chunk of your life, so the process should be interesting and surprising.
That said, could you describe your work process? Do you write a script first or come up with a character, possibly visualize a scene? How does it work?
There is no standard routine for these films. They all started with a different spark, although all my work belongs to the same universe. This helps, to have a place in my inner life with its own stories, characters and internal logic. I often restrain inspiration with a set of arbitrary rules; With Thee Wreckers Tetralogy for example, I was forced (by myself) to base each film on a song, have the characters of Thee Wreckers present in one way or another and start the next film where the previous one ended. That was “the game”. Having said that, lately I’ve been really enjoying working with animatics (basically an enhanced moving storyboard) to develop a film.
What inspired you to make The Monster of Nix? According to Wikipedia it took 6 years to make. How did you keep up your interest?
Keeping my interest is my biggest quality, I think! All my work is interconnected and basically all part of a bigger scheme. And I’ve been working on it for over 25 years so far. But it’s not hard, it’s actually helping me to stay sane and focused. With The Monster of Nix I wanted to tell my son Max a Langemanne-story; They are fairy-taly forest-creatures and he was fascinated by them. And I had many stories to tell, so I decided to do -for once- a “lighter” project. Unfortunately, it became a very complicated project to pull off. I spent 2 years (of those 6 years in total) in development-hell and once the film was finished Max was twice as old!
What are you working on now?
I’m mostly recovering from finishing Reruns, my last film. But I don’t have too much time to lick my wounds, because there are several projects waiting for my attention; I’d like to return to the world of Nix (although I’m not sure yet whether it will be a film or something else) and I’m also quite deep into developing a Mind My Gap feature film.
Rosto: Fri 9.3. 20.00 / Plevna 4
Rosto: Sat 10.3. 22.00 / Plevna 6