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Interview with Eduardo Quispe, head of

Saturday, June 26, 2010

By John Campos Gomez cinencuentro

In the latest date, July 7, the series "A New Film Peruano", held in the UTP are present-in the auditorium "Escobedo Gallegos Angelica" - the only release planned for this frame. It is "3", by Eduardo Quispe, the author of "1" and "2", which we saw last year at the Festival Limeño Film Festival, held at the same university.

connection with this release, we We did an interview talked about the recording process of this film and, above all, substantive issues of the Peruvian cinema.

Any new exploration in "3" with respect to your two previous films?

Eduardo Quispe (EQ): Well this time I worked with over 10 people (usually working less than 5), which tested my communication skills and organizational, as we always work without a script . The draft of the film serves as a starting point for participants to ideas we come together and perform several parallel creative processes. Jim and I we just channel this creative stream in the direction of the thrust of the film. People who work with us does not charge a sun hardly recompense him wiping movies, inviting pizza, a dinner with pisco sour, etc. That means that they believe so much in this project as we are, they put their enthusiasm, effort and ingenuity. It is almost a collective work, where my role as director is more a motivator and facilitator.

"3" is a film about the reality of the young generation Lima; try to recreate a night on a park, always in the vein of the fictional naturalist and documentary / experimental use and in the movies. Our theme continues to revolve around the difficulties in relationships, in a conservative city that has been mediated and that so difficult to adapt to rapidly changing social paradigms.

What was the recording mode for this movie?

EQ: On this occasion we recorded almost the entire film Single shot sequence. As this is not so new, looking for ways to give our original touch, and well, the result left me satisfied. We spend more than the previous two films together, we had to record it all on 3 occasions, and we had many difficulties, to unite all people, to coordinate the talks, the level of participation of each one, because not everyone agreed on the same schedule of meetings and rehearsals, and could not participate for various reasons, I had a serious health problem that took me into surgery, died the mother of one of the participants, there were personal problems between some members of the cast, among other things. I imagine they are inherent difficulties recorded in this way, but despite complications, was a good experience and fortunately it all came to fruition.

if it had a looser budget, "would come out of digital? Or do you think that this support has its own personality that goes with your feelings.

EQ: If I had a considerable sum of money, find an excuse to bring Charlotte Gainsbourg, I know, I love that woman. Never let the digital medium, it's the principle, not only sensitivity or money. If you have more budget would include the distribution, make my films more accessible to people. For example, bulk out DVD editions of good quality, that cost 3 soles, or 2.50, which is the price people pay on the street. I am against record in a format so expensive and scarce in this country, and spend many technical aspects involved with film recording and display. Also, for my film making is part of a series of activities for the true democratization of the media and art, so I only complicate celluloid life.

Peruvian Nuevo Cine "naming a group of young film directors is a way to report the existence of a cinema" old "?

EQ: No one must denounce the existence of an old movie, because that is really quite obvious to anyone who has a fair perception. Might call "old cinema" the kind of films that inspire only do the opposite to what they have done their makers, which will inevitably arise with the urge to create new aesthetic, expressive and formal as call "a new film." I know we can not ignore the existence of films made in the past that transcend and remain in effect, precisely because of its proposal, but unfortunately did not echo, and generated a tradition of innovation, much less the filmmakers gathered in a vanguard movement , which happens now with young people you mention.

What are the characteristics of this film "old"?

EQ: In my opinion this film was not born old but has been aging for giving renewed. It has become a rather boring and tasteless film, covering topics superficially deep, with excessive theatrics, drama straight out of a local newscast, texts so obvious, over-exploitation of stereotypes, gags, implausible situations, predictable, maps and sequences reduced to being an illustration of scripts, a naive realism that if a character hits the wall, is hitting the wall, if you're eating because you're eating, if you walk down the street, as they are going somewhere. There is no reference, no metaphors or signifiers, or at least the director makes you feel well. The spectator just make the effort to follow a series of events that have been lightened, hoping to become a more commercial product, without soul, without passion, without art.

Do you feel the need to establish a group of young filmmakers to be seen?

EQ: do not think there is a need to meet, but what is the need not met. Everyone has their own style, their proposals, their mode of production, elements that characterize it, their tastes and their own vision of cinema. But what unites us is the red need to do something new, think of it Peruvian cinema be blamed for the same Peruvians. I dare say that everyone wants to make art films, without the interest that these adoption increases in the conventional manner, desperately seeking effective media or win any festival. Making art is quite exhilarating, cathartic and inspiring those feelings can not be obtained in some other activity, let alone can satisfy the money. And I think that is transmitted into the soul of the film, which is why the (few) people who see it not just leave the theater.

* Once you mentioned that you want to motivate more young people to make films How do I pass it in your movies? (* This question is not publication, but the answer is yes, so I took the liberty of including)

EQ: The production of my films staff resources, budget, all this is available to everyone. Recorded with the camera you have available, and the minimum technical requirements that we use, only casting a stumbling block, but not both, for example, "2" needed an actress and none of my friends was available. So I started looking for Hi5 (very fashionable some years ago) to girls who have the features I was looking for the character, and also has quite an affinity with art and certain kinds of movies. So I met Linda Soto, we set out to form part of the project, liked it, we were writing to gain confidence, we filmed, we became friends and even we have plans to record later. In "3" as required more people, as did the same, but this time calling through facebook. Some were known to be regulars film club, I made the invitation and accepted it, and even invited their friends. Even some people who volunteered because they had loved my previous films.

Assuming you do movies to make your impression of the world mass and recognizing that the alternative circuit in which you move has little diffusion and bounce. How do you intend to disseminate your work towards reaching a wider audience?

recording Ending "4" (by late October this year) I'll move this package of films for markets alternative, Powder Blue, Round Table, The Gap, etc.. Also try to place them abroad, through some contacts moviegoers. Similarly, with Jim Marcelo, my co-kinesthetic, we have a project for quite some time, bring the films to schools, colleges, community centers and public places that just have a projector, sound equipment and place where you feel the people. Additionally, the films will be on the blog of kinesthesia, where people can download the free. The reason I waited until October is because I am improving the presentation of the DVD as well as trying to clean up the audio, especially of "1" so people have no problems seeing her at home.

Something to say about CONACINE?

You can give money to someone to do a movie, with the main criterion "project feasibility." And So What? Apparently only financing films with the support of people and producers of "experience" that will ensure that the project will perform smoothly. So we no longer speak of the purpose of cinema or art, but only the product. If the movie does not work, does not return the money is there?, Then why such an approach considerations premium over, say, more artistic?. Whereas most films that take risks are more values \u200b\u200bthat promote artistic film and then reward the "feasibility" does not make much sense. We need a film institute that not only rewards projects with a certain profile (quite debatable, of course) and one other course, but who cares about the principal capital of art creativity. If it continues to maintain a conservative position without risking more experimental, while promoting the directors of both formal and aesthetic research and media education, especially in the population because I do not think much progress. I do not consider personal achievements Claudia Llosa, Héctor Gálvez, the Vega brothers, are an indicator that we are on track, but it reaffirms my feeling that can only be accomplished something important if you do the opposite of what has become filmmakers " experienced, mainly supported by CONACINE.

Published cinencuentro.com

* Photos of this post (also part of "3"): Hugo Palomino Gonzales

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WE 3 "3"

Back to questions. Is there a new Peruvian cinema? Was there a Peruvian film industry? Was there "Peruvian cinema" as a theory or manifesto brought to the screen?

Having participated in the realization of an idea makes me feel lucky. Fortunate to be part of something that will remain in the mind and the Peruvian film record (to be beaten or caressed). However, the question arises, uncomfortable indeed how important is it for someone like me, is not imbued with the whole theory that others handle cinephile. I do not pretend to answer that question. I guess with time I will realize what it meant to be part of the team of "3", Eduardo Quispe third film, promoting younger years.

What I mean is this: ANYONE CAN MAKE FILM IN PERU. That does not sound derogatory, but that now, in these years is true. As always, we must make distinctions: anyone can make films Peru, but not all have the courage and clear thinking to do so. That is the merit of our director and friend Eduardo. He made a movie in which those involved say-no "actors" and "actresses" because we are not even remotely-develop their own ideas based on the item prepared. He risked several guest thought it was a madness, a senseless maniac too pretentious cinephile. And yet ceased, not backed down and moved on. Anyone can make movies in Peru, but not everyone has what it takes.

And what is required: camera, friends, money-short, but necessary, time-indispensable-but above all, an idea, a flag, faith in what you want to achieve, concept. Given a camera, bring friends with whom you share, gather and make the most of what little free time you have after work, as in my case, almost 10 hours a day, spend the few remaining soles salary and accounts payable for recording materials. But above all, in the first place, an idea worth considering making it seen, read, observed, what is heard. "3" is a particular vision of Lima in general. "3" is the realization of individual discourse in search of a general truth to understanding our society. "3" is a manifesto. Different histories, personal, united by a common space that is receding gradually for the inpersonalidad of life in the concrete that is built daily in Lima. We try to escape the life that standardizes and categorizes them all as anarchists, racists, yuppies, etc. And we do trying to take our own path. Each with their stories, their traumas, fears, fetishes, but each share with all our individuality. Ordinary life, like mine, does not focus on the pursuit of perfect love or the Holy Grail. Life is as it is: hard, ugly and simple, but there her beauty, full of hope and countless times indecipherable to the rest, except for the living.

Is there a new Peruvian cinema? I do not know. But I know we all can make a movie of our lives. Portray what is in them through a video camera provided. We can tell real stories. I do not think there is a new Peruvian cinema. I think simply that there are more ways of making films now. There are more eyes, more knowledge, more desire, fewer barriers. I think what was done in earlier Peruvian cinema is valid. I do not think my cultural life film without having seen "Alias \u200b\u200bLa Gringa", "Without compassion," "The lion's mouth", "Juliana", "Death at dawn", "Immoral Tales" and more. But I know that films such as culture in general, should not be the privilege of a fortunate few who can and do postgraduate studies at foreign film, so I know that hopefully anyone can make movies in Peru.

Miguel Vargas

Posted on http://proyectoladob.blogspot.com/2010/06/hicimos-3.html

Masquerade 2010 Prom Dresses

PREMIERE OF "3" and talks "THE NEED FOR A NEW CINE PERUANO" IN THE UTP

The premiere of the third film in kinesthesia, "3" has been rescheduled for Wednesday July 7, 2010, at 7:30 pm in the main auditorium "Gallegos Angelica Escobedo" Technological University of Peru (Av. Petit Thouars 116, Lima) . And as planned, at the end of the screening will be held chat show "THE NEED FOR A NEW FILM IN PERU" , with the presence of film critic Mario Castro Cobos, film director Juan Daniel Fernández and collective kinesthesia .

Admission is free.

We leave you with the information of the film:

Original title : "3"
Address: Eduardo Alarcon and Jim Marcelo Quispe
Duration: 68 minutes
Production year: 2010
Production: kinesthesia productions, with support from Project
Side B Edition: Jim Marcelo Santiago Quispe Eduardo Alarcón
Starring: Karla Mallma, Giulianna Mallma, Heidi Fifth, Israel Figueroa, Eduardo Quispe, Hugo Palomino, Jackeline Castillo, Miguel Vargas, Karin Paz, Claudia Crespo.

Synopsis:

A city, a park, any one time. The film portrays a group of young Lima, who talk about their lives, their interests, achievements, disappointments, disappointment, the commonplace, the privacy of each, showing worlds apart by the benches and sidewalks, but related by space Park-time, approaching to give a microscopic view of a generational reality which the protagonists do not quite understand and adapt. The film oscillates between naturalistic fiction and documentary. It was recorded in one take sequence.

Anecdotes of the film:

· Production began in early February 2010 and planned finish was recorded at the end of March. Finally finished recording in June 2010.

· The reasons for the delay were varied, and some curious quite painful. There were many difficulties in coordination with the cast and they all worked on a voluntary basis and had to find a schedule of all matches. Started the coordination meetings were being organized on the level and form of participation of each team member, and initial members were withdrawing from the project due to several issues unrelated to the film. It required a minimum of 12 people to go and had to recruit again.

· Another reason was a health problem Eduardo Quispe, ulcerative colitis that led to surgery. It tests were postponed and meetings during the weeks prior to and following intervention. The cast was reduced again.

· Similarly, the cast had health problems, including colds and infections, delayed recording.

· The recording had to repeat 3 times to achieve the expected result.

· After the second recording, the entire team went to celebrate at a nearby pizza place to the location. To record the moment on camera and record, forgetting that the tape had fallen to review some shots. We therefore had to make the third and final recording.

· dedicate the film to the mother of Miguel Vargas, who died two weeks before finishing the recording. We also welcome that Michael has continued to support the project, despite the difficult time it was experiencing.

Eduardo Quispe talks about the film:

"Earlier this year, I made a list of which I believe had been the most momentous films the decade. Topped that list, "Russian Ark" by Alexander Sukurov. The reason for this choice was that finally a movie had dispensed with the traditional editing and assembly, which is to be the process where the film ends up being more or less what we see on screen. That was not only an affront to conventional film, whose main attraction is based on the reactions achieved by mounting rate (closely linked to the video clip and pyrotechnic products Jerry Bruckheimer-style television ), but also means a commitment to generating idea for the film, no retouching, no post effects. I know the film is not the best example of this, but brings to mind a lot of possibilities. I decided

not complete the list, but if you start writing a draft of what could be "3", a film and hold the REC button for more than an hour.

I also know that there are many movies shot in this way or that premise, from the rope, the master Hitchcock, the irregular Timecode by Mike Figgis, the Mexican real time Fabrizio Prada, "The House moves" horror film Uruguay recently premiered at Cannes, among other titles that have already explored some possibilities, which in my case I served as a reference. Additionally, not wanting to be a movie than a single sequence, so we decided, with Jim to make an introduction you stick your tongue to that label.

We want to return to explore the complexity of relationships in these times of rapid change, media hype, distrust and isolation. Now we extend to family relations, Amicale, among strangers, and among people missing, all in a microcosm of the park. If it is difficult to make a film of a single shot sequence, much harder to recreate any one time, without there being too theatrical performances where the text or steal spontaneous dialogues, situations of forced drama, comedy or vertiginous action.

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Sometimes one looks for that one too called "messages of hope. " They are not Catholic hymns and revolutionary slogans printed or sign as you remember the great klucis , no. This is, plain and simple, small significant stimuli that can make you breathe, and live-better if sometimes short of breath.

I'm not talking about interpretations mystical, philosophical or financial considerations and, therefore, erratic or lacking in perspective. Frequently and unfortunately, much as the chase, sometimes these messages do not exist, much less do so when the one I write is in the train car where, where to look you , air conditioning not working properly, the demographics are playing with a skipping rope - a 36-seater wagon with her three offspring cries under 18 months, and the space you've supposedly gone to Seville, just , does not advance. Then

pagers. Embark on a space-worthy scorn Belgian Poirot and having the little big "message of hope" because, for those who have discovered the defect to find happiness in the distance, there may be many.

That the service may display a green light freedom , for example (do I have to apologize for using an image that becomes wonderfully hyperbolic phrase "the bathroom is free"?). A voice-neutral accent (remember it, have heard a thousand times) proclaimed by the speakers cracked "on this train beverage vending machines." And, above all, to read at red lights-pixel and half way between the carnage of the ce NTER commercial and neon cuasiburdelístico next destination, which coincides with yours.

However, and unfortunately, I have come to call "messages of hope" in a train does not exist. And, of course, if they do not listen to them. It is clear and we all know: we like it or not, as I write this, the service is free (remember the green light freedom ) because it emanates a stench that prevents approach him less than six meters drink more addictive than "waiver machine of this train is something called Sunny Delight , and the one that began, continued and completed esc ribiendo this, stands making photos of the landscape, a strange building that is on your right and the sign hor fucking Aryan and butcher to find that missing two hours to get home.