1 How would you describe the aesthetics of your film? Hopefully in accordance with its content. 2 Why did you choose to shoot on dv? I have been accompanying my father with my camera for more than two-and-a-half years. The protection and distance generated by the camera enabled both of us to talk to each other -- which we had not for a long time. The only way to create such an intimate recording situation was by working with a mini-dv-cam -- a camera that I am able to handle by myself and that gives room for my own reactions and expressions. If I had used a film-team with time-extensive setups, with a huge machinery that encapsulates the other this film would not have been possible. Apart from that, in the beginning there wasn´t any choice. I simply started filming without funding (came later). Anything besides dv would have been much too expensive. 3 What was special about shooting in dv (e.g.compared to 35mm, was it your first time with dv or are you used to it)? There was a situation that I felt was very special. At some point I turned the camera to show my father what was happening on the LCD-screen of the camera. Out of this developed a conversation and a scene that could not have been outlined before hand. The little dv-cam is handy and light -- that´s what makes such things possible. Besides, this is my first feature-length film, but I had already gathered some experience with dv while working with a collegue of mine on a tv-documentary in Bosnia. Here I observed as well that working with a mini-dv-cam got us into situations where we could talk to the people without overpowering them. You stay visible behind the camera, you can act more spotaneous with the camera, you are not very dependent on light or location and in difficult situations you can more easily hide your camera. While interviewing officials with the camera we noticed that sometimes we were not taken for serious -- men with big cameras are considered more important... this conception can be of advantage to you because condescension makes people behave less cautious. Sound, on the other hand, is difficult if you are to interview somebody (even with external microphones there were repeatedly problems) and background isn´t easy either (then again you need a real light-set-up) 4 Which camera and which editing software did you use? I used a Sony VX1000 and a Pansonic 3-Chip-Camera with a LCD-Screen (don´t know the exact model anymore). We cut on Avid. But a clear concept and a good cutter are still the decisive software. 5 What was your shoot-edit ratio? I came up with 50 hours of footage (excluding the archive-material), of this some (Photos and some directed scenes) was shot on Beta SP. In the end we got a film of 72min. This wealth of material was produced due to the fact that certain workprocesses that developed during the ongoing relationship with the "protagonist" could not be planned ahead. A lot of material -- which I consider a problem -- but as well a chance of the cheaper dv-material. You can try things out, experiment without worrying over each meter of film that goes by -- as long a you are not losing your thread. 6 Would you have preferred to shoot in another format? If so which? For this film: No. 7 Does using dv mean that you are considering other means of distribution opposing the established? If so which? I decided to transfer the dv material to 35mm so that the film could be shown at the main section of the International Forum of New Cinema - you cannot screen videos there. There are a couple of other festivals and a lot of cinemas that do not have the technical means, not to speak of digibeta. It would be a good idea to evaluate whether the dv-35mm transfer (with all its difficulties considering color correction or format -- if not taken into consideration right from the beginning) is realy usefull -- or if it wasn´t maybe more helpful to take into account that because of content, aesthetic and financial considerations, dv becomes more often the format of choice. Only from that point on, when there are more technical means for screeening dv, an alternative model of distribution may come into place. Establishing dv against other formats doesn´t make much sense to me -- for too long I have witnessed the struggle (e.g. at the Feminale-Festival) for alternative distribution channels for 16mm and as well for non-commercial 35mm films to try to start another (dv-based) discussion all over again. At the end of a technical development it`s not the format that is important, but whether the "product" gains acceptance by the market or not. People who want to work outside or on the edges of this market should work together. 8 One good word about dv (or two): You can use it without depending on funding. (At least to make a start). More good words see above. 9 One bad word about dv (or two): That will come to my mind -- I´m sure -- once I have seen a beautifull 16 or 35mm shot film at the Berlinale. [Karin Jurschick, geb. 1959 in Essen. Studium der Theater-, Film- und Fernsehwissenschaft. Mitbegründerin der Feminale. Seit 1995 Hörfunk- und Fernsehautorin. Danach hätte es schön sein müssen ist ihr erster langer Film.] nach oben [impressum]