Gone – Interview with Paul Zoltan

Gone - Interview with Paul Zoltan

Gone – Interview with Zoltan Paul

Gone – an English title for a film shot in Germany? The ambiguity of the participle irritated the filmmaker Zoltan Paul: Flitsch, past, hopeless, dead Gone is on 25 March to the cinema, according to the international festival success and participation as the only German film in competition at the Mar del Plata in Buenos Aires.

In Gone met David, a cloistered author, publisher suicidal Alma. The author makes the main character Alma his new novel, whose story in the double suicide of two lovers opens. The following fiction novel develops between the author and publisher a fatal passion, with deadly consequences – a play about love and death.

Rudiger Suchland spoke with the director.

Rüdiger Suchsland: How would you describe your film ? characterize

ZOLTAN PAUL: GONE is a psychological drama, and probably a rather disturbing and excessive film. As I am basically a man sometimes, unfortunately, quite excessive to self-destruction. I’ve tried to levitate the film in a magical realism I wanted to develop a suction effect, which sees the main character is exposed and is transmitted to the audience.

Rüdiger Suchsland: How did Gone, as did the idea and how it became a movie?

ZOLTAN PAUL: I’m an actor and a director of theater, film, however, was for me always the main objective. But as we know, filmmaking is an expensive joke. After I tried for five years to finance another film, I was so frustrated that I said to myself, now you’re making a small film, hell-bent on. Thing when you finally turn and only on Polaroid. Promptly, I got the chance, a short film on the sensational 24 rotary P HD camera. It just had to go fast. So a story had her, and on the basis of the poem “my Lehn deine Wang Wang” by Heinrich Heine came to us, me and my wife, Adele Neuhauser, which also plays the lead role, the idea for the fabric. The short film was also called Gone and has caused some stir. 13th Street / Universal Germany would prompt him to buy, and I was able to convince the station to continue the story episode wise. My calculation was that I got together as one long film. So now I have too. Version of the episode in four parts will be sent by 13th Street, soon to premiere, and the feature film has been sold to 40 countries and is now just coming into my rental in the cinemas.

Rüdiger Suchsland: Why does one have to do for now? How Gone takes its relevance?

ZOLTAN PAUL: Because I had to make this film, he had to be done, I think. Picasso is the saying: “It still does not ask a bird, why he sings.” Furthermore, the film for me is terribly relevant, because I almost kicked the bucket at him. I have him produced. Three years of pure adrenalin, a financial Rasierklingenritt always scarce on the precipice. And the viewers who saw the film at festivals so far and with whom I could discuss for which the film seemed to be quite relevant to most of them were slain and severely emotionally impressed. But there were also a few who opposed the film properly. But apparently no one can be indifferent to it, and that’s the main thing.

Rüdiger Suchsland: The camera is very emotional. If they are hand-held camera-by current models, such as the Dogme movement, or influenced by Chéreau’s Intimacy …

ZOLTAN PAUL: I like the Dogma films very much, but I wish to God not to jump on the train. For me, the number dogma is eaten everything already. And the real Ultra Dogma filmmaker John Cassavetes was anyway. And 40 years ago. Gone with his artificial aura with the dogma-naturalism has nothing to do, rather, perhaps with Wong and his Karwai In The Mood For Love.

Rüdiger Suchsland: remember your presentation to the formal part of the auteur cinema of the 70s?

ZOLTAN PAUL: If you want to compare myself with Rainer Werner Fassbinder, I would feel very honored.

Rüdiger Suchsland: Can you say something about the off-teller … I was not quite sure what is meant by this. If this is the text of the novel?

ZOLTAN PAUL: Of course. But in some places is not quite clearly, that I admit. I have written to the voice overs, sitting behind the cutter during the cutting, it was a very organic process, with long nights with a lot of whiskey and bar way cigarettes. And the panic, if what I imagined by the film, actually works. Fear for the film, the fear of the characters to find their way in the film, my fear of death and life in front of

Rüdiger Suchsland: Your main characters all seem strange death-. Why such hostility to life?

ZOLTAN PAUL: I love life, but death as a last resort exerts a great fascination for me. And one can not deny his roots. I am native Hungarian, and had a rather chaotic childhood with emotional roller coasters. And Hungary still has the highest suicide rate in the world. Together with the Finns. The melancholy, depression, alcoholism and the irrepressible desire to celebrate life to the unconsciousness, which are the contradictions of the Hungarian soul. And then I grew up also in the morbidity of the 70s in Vienna. With the Central Cemetery, Sigmund Freud, Thomas Bernhard, Camus and his associates as a philosophical stimulants. So it’s no wonder, I believe that I had to thematise death, suicide, in my first film. But in the end decides the protagonist but for life, so you have to understand the film even as a life-affirming.

Rüdiger Suchsland: What this tell us about our present?

ZOLTAN PAUL: I see the film timeless and he is not an attempt by the bean, to say something about our present. If she says something, then something about the everlasting so timeless – the absurdity of human existence. Also I like political films do not. Or movies that I want to foist any message. Film is for me the ultimativste art form. It combines music, literature, visual and performing arts into one unit.

Rüdiger Suchsland: Missing today’s cinema, the wildness, the deep passions? Or is it too little in his existential issues?

ZOLTAN PAUL: What’s wrong with today’s cinema is more courage. It will be made so many movies that can not risk anything for which to feel the makers on funding pot hanging unmolested among themselves. The dramaturgy generally follow the principle of set patterns, American Dreiaktesystem, a few ingredients from all emotional vegetable gardens and the film is finished soup. And the whole world kowtowing to Hollywood. Except for some swashbuckling madman like Lars von Trier, whom I have the greatest respect. Or, Aki Kaurismäki and Wong Karwai.

Rüdiger Suchsland: Where do you see yourself in ten years, where you want to go as a filmmaker?

ZOLTAN PAUL: My goal is that I can do without financial Harakiri films. My company ATOLL FILM that has produced the film, now gives him since last year and also operates two cinemas, this little hideaway where I want to stabilize that I can produce my future films with the greatest possible independence. Freedom is most important for me. The materials for the films will have come on their own. Because I know myself well enough. And I want to help other filmmakers. There is so much potential there, but by the production conditions, one is quickly forced to act slutty to. Courageous filmmakers who dare something for which I want to be there with my rent and my own cinema. I also think it’s phenomenal and quite unique to be a director and also the entire value chain in his hand to have.

Rüdiger Suchsland: Do you have role models among filmmakers? What? Why?

ZOLTAN PAUL: In addition to the above are Ingmar Bergman, the Coen brothers and Cassavettes trend. But basically, we follow an inner intuitive force in filmmaking. And then amazed at the result and happy as a little child, when the astonished spectators.

Rüdiger Suchsland: What are you planning next?

ZOLTAN PAUL: We’re in the process of developing the book for a marriage to tragicomedy. Again, with my wife in the title role, and we want to shoot the film in Greece, the birthplace of my wife.

Courtesy of Rüdiger Suchsland.

Title: Gone – Interview with Zoltan Paul Country of production: Germany Year of production: 2003 Length: 84 (Min) (# ) Distribution: Atoll Film

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