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hello again the welcome to spotlight the interview show on now with. the never ending standout action against. even more urgent it's three d. craze and ferreted directors who shoot spectacular movies but skimp on story and characters now it's a filmmakers of course who treat cinema as art rather than showbiz but their work as art house is going deeper and deeper with fewer people here. so there's the future of cinema look or like. is it the last battle of

arts where the bread and circus will discuss it with award winning filmmaker here with a little help from francis ford. for a few years by now lots of special effects and three d. have been winning minds and turning films into instant cash cow to acknowledge only makes movies look cool but critics say the trend is scary because the rush for spectacular makes good acting and story they need to wait while hollywood continues to struggle for. the quality of filmmaking is moving to the independent american studios and the european box. to with more and more films taking the most prestigious international. welcome to the show. you said people

think the trisha's biggest problem is the real shortage of money in other words this is in reality you say. we're suffocating in a cultural vacuum in other words the problem is your moral deficiency well it's so my question is what religion has been a prominent theme in the last three films first the oland and tsar and now they conduct a do you think religion can help the people like yourself who was suffocating in this vacuum. that's not the way i put it. simply points us to eternity. religion is mansur response to turn all questions. religion talks about life and death religion talks about the soul. of the truth self control the meaning of life and so on. once you start

thinking about these things one way or another you will come in touch with religion because that is specifically with christianity because we have been living in christian civilization for the past two thousand years but the should so almost films how this eternal issues present in them but in different ways. i like what. i have said that this was when the nats the war about to take over france they had taken over germany and they were about to take over france said these days and agonizing atheist schools are to god then it complacent christian. thing to do you say. so i prefer an agonizing atheist over a complacent believe or. you know some people are very complacent it's as if they

give their money and their own heart to the true. and now they don't worry about anything at all. the film's on me car budget crisis they're about shameful repentance and crisis screwed with the russians sewn people say the living conditions in these parts of the trilogy. of the islands zone and the conduct. what is this trilogy about. films about the conflicts between spirituality and real life reason is the way that they were but i didn't. i don't think so this year this ecstatic feeling in common. it's a little like prayer. but actually there are quite different the conductor is a contemporary story about a man experiencing an internal crisis an intellectual who discovers that he's actually dry cold that he's

a control freak he wants to be the conductor in music and in life but there is no life and what he does. not only part of a good but also francis ford couple is promoting his new movie and he recently came to moscow and it was quite extraordinary how he got the idea i mean off his new movie let's listen to francis for copland so telling the story i was in this boy i was looking for a place to make of so i was out. with lawyer. it was a woman but she was giving. advice about tried to make a movie in turkey and she invited her sister and they said have you ever had turkish rocky and you know turkish rocky is not like wine. but it was very good and

they were really charming and so i was very happy and i drank it all and. i went home and went to bed and i had this vivid dream it was i never had a dream like this it was almost like a movie and right in the middle of the dream after edgar allen poe appeared in the dream. that there was the call to prayer and i woke up in the window it was from the mosque you know so i close the window and i have to. sleep i have to find the end of the story but i never could fall asleep so instead i just recorded what part of the dream and in a way then i thought well why i don't know maybe i can make a movie about a filmmaker goes to turkey and he meets the lawyer and sister and he gets drunk and he has a dream and then he can't find the ending because he couldn't go back to sleep and i thought well i don't have to really do it in this time by just do it where i live

. have you ever experienced anything like that it would have it would go to if you're moving in a flash or do you always spend a lot of saw him working on the scenario. in my case it's more like i work a lot sometimes when i get stuck working on a scenario me see a scene in a dream but it's not like you can see the whole film. so will feel minute dream i mean i think you should work harder to. get that by so doing to say the conjuring so much. know why i have a house in montenegro so i can drink quite a bit of. power another quote the problem with filmmaking on the market conditions is that there are two types of movies and to say mean movies and those that make you think so there are these two cancer. things of the first type the

entertaining type dominates in russia why. pollution is strange russia has always been strong in a different kind of films we had directors like on traitor koskie and others by the way this year we celebrate years since sundry birth. but the market prevailed eventually. people in russia wanted weak return on their money. so they mostly just copy what they do in the west. and it's hard to copy something that's really good. for example it's hard to copy suisse watch. but it's easy to copy a mass produced plastic watch. what young people like those films. the mass produced ones. yes you know i know

a film producer who acts just. boxoffice i can always count on blue collar kids. also we don't have regular movie theaters any longer we have today's multiplexers and multiplexes have a different atmosphere popcorn young people and beer are loud music the movie theater is no longer a police you go to to watch a film people go there to hang out or to pick up somebody a couple has moved away from commercial cinema he tells us he is working on a smaller project that he is used to and is financing his movies himself he says he was happy to get rid of the big studios dictatorship but nevertheless take . the film industry philosophically let's listen to what he says about.

industrial cinema this is the seventh which many people have jobs makes money for many people it's like a business it's like you know any kind of business and then there's the independent cinema which you know people who really. to do work in that would rather be in but the audience. the audience favors the commercial cinema because the audience has many options either taman you know in the old days people went to the movies that was entertainment but now they watch television and watch news that's entertainment they can follow politics that's entertainment they can do sports that's entertainment they could go to the saving z.m. shows that's. good entertainment. how do you manage to find a happy medium for all fields are not like mass produced want is there not just for entertainment but people like them tickets are sold out i don't know just i'm not

sure they're that popular. anyway i don't know how it works but these two therms their special just to kill i don't know how to answer this question all i know is that any kind of film can be good except a boring one schools leave it with the i don't like boring films but at the combo of by the way he's very good at making big studio films to do that we could load it he was one of the few directors who could work with big studios on projects like an godfather or apokolips now or even dracula village so that you alone and still make a really moving picture of the actual it's a shame that he cast away this dictatorship of the studios he had to make a choice but you're comfortable with what you have moved to get i have been working on a tight budget all along to says popular movie and the royal winning russian the filmmaker

spotlight will be back shortly after the break so stay with us we'll be back in with. there hasn't been a thing yet t.v. . it is to get the maximum political impact. the full source material is what helps keep journalism we. we want to present. something else. mission free accreditation three times four charges three arrangement free. free. free.

download free broadcast quality video for your media projects a free media oh dr r t dot com. welcome back to spotlight on american urban just a reminder my guest today is part of. the world winning russian the filmmaker and mr logan with a little help from francis ford coppola is telling us about modern cinema. it is a difficult to make films of the kind that you make given that you work in russia quality films are capable of attracting large audiences films with a message and a mission in films you would not be ashamed of you've been successful so far but as you've said commercial films are still winning over the audiences how does that happen. to the it's

a matter of personal choice. i'm in a way my must say that it will in the moment is the goldmans helping us receive bronze and so on yes do you think all these should be financed. by the state she needs to be done that's the principle on which european film funding is based it was invented in france european cinema use funded with government grants entirely a large nation is defined by the movies it makes at the they realized that they needed government support to you know order to preserve their culture their language. to voice the rending the hollywood yes to avoid surrendering to hollywood globalization to go all realize that back after the end of world war two during diggles time when they decided the distant percentage of french songs should remain in radio rotation to keep it from becoming completely english speaking this that's

what i'm talking about there were also regulations regarding the sheer francophone shows on television and the share of french films in movies generally speaking french culture all the benefitted from that french cinema is flourishing does this mean the movies have an educational function to educate people to the cultural function yes you know we still don't understand the nature of culture. brushes is always behind the rest of the world we have discovered the power of money and economics but we still don't understand that culture is the cement if you will that holds the nation together isn't our society still disintegrates into small groups. individuals who feel lonely and lost just to do they're not drawn into a single large scale cultural process no a let's listen to what couple says about the need to educate the public has to be educated you know this is the same public when the movies come out the big public the big public doesn't go to these

kind of films it goes to you know whatever the one being sold to them just like politics you. have you know. it's hard to believe. for example in america when you listen to these politicians what they're saying it's hard to believe that the public takes them seriously that just you know. so the big public is. don't forget has been conditioned by forty years of television you know watching entertainment quick entertainment laugh funny out so so they don't have the same resiliency to interesting projects that you would get if you read literature or something so i mean the public may need to. the public has to be educated. or anything if the public support it wasn't

going to give the public conditioned by popcorn movies to return to watching all the kinds of films it's very difficult because it's easy to run downhill but hard to climb back up you know i actually believe that movie history should be taught in schools it seems to me that the younger public is no longer capable of taking in to over a film if you noticed that series of short films have become a very popular format wakely will do that so they can concentrate for fifteen to twenty minutes but not for a two hour story farkas what did that guy say to the start of the movie i forgot they have forgotten the joy of decipher ing a film detective movies are no longer popular i no longer see any detectives only in russia do thrillers and detectives fail in the box office comedies are popular so that punchline it only takes fifteen minutes and then they move on to the next

movie the audience needs to go back to school and if they do teach children to analyze in school they analyze characters like not i should i still win the war and peace. if we follow that logic then music should be taught in schools to music school worrying since contemporary audiences are incapable of perceiving music you have an intimate relationship with music correct. yes yes but we do need movie history classes i think they have them in france although they're not obligatory now that people need to get the east for something revealed . did you mean when you sense that it has become too easy to make movies in russia since there is no one to compete with that's a joke. look it's easy in the sense that you're. when expected to provide a result. the russian cinema industry produces some two hundred movies

a year but only some it's about sixty to seventy of them make it to movie theaters at the end of the day. nobody knows what happens to the rest of the productions or the money spent on them we as viewers doona get to see what's on the screen and you know what's behind the scenes you see nobody can write a good story o'donnell these days about the great russian literary tradition where we still go we should be. feel that we still have it just doesn't come through what about our cinema tradition from eisenstein to sort of course key we still have its origins history. i don't know. this year i'm cheering the jury at the same to film festival showcases. by the graduates of russia's leading filmmaking schools. they had invited me for

a long time and i finally decided to participate i wanted to see a host of young up and coming filmmakers i haven't seen all of the selected films yet but what i've seen is cert's really discouraging. most of all because it is so derivative and emasculate it's nothing new or personal i've seen half of the selections so far and i'm rather disappointed. now let's talk a little about the best film of last year the film. that got the main the main oscar nomination. was the artist first let's ask francis ford coppola the oscar winning director and self what he thinks of the film which this year a major academy award the artist. artist tells you there's a lot to learn from that movie the artist says that for cinema project to be very

simple but if it's simple it has to have the key ingredients the artist had a good ending it had a good beginning and had actors that were very lovable and engaging and you know the actor had a beautiful smile and it had one scene in the middle that was very interesting that expressed its theme the theme when he had the dream about the sound so what the artist tells us is that cinema can be simple but if it's simple it has to have these few ingredients and if it does them well it can be a huge and it can it can really please please an audience well you know that was a unique project buddy but they did it well and they had conviction it was very brave. to make a black and white silent film but you know they had the cast is very charming. i.

think simple can be very effective. believes it must have taken courage he says courage to make the artist but there are other think it was a very smart move and timing. back in the days of sun movie like the artist would not even have been nominated for an award i would look so different compared to tightening core avatar do you agree with do you agree with the film academy. it is indeed acquired during an interesting project producers normally tend to go with things that have already proved successful. to duplicate success in this sense the organist is a step in a different direction away from technology and i like that about this film. i believe the last technology there isn't a movie more so than curry's might has. cinema are rather than video

games but that said there is certainly no deep concept behind the film in post-mortem terms you'd only make sense in relation to its for beer sunset boulevard the artist is a sort of. a fine. reciting the great silent black and white cinema we all adore it takes his back to the times of innocence sereny t. sincerity and sacrifice. and i think this kind of success cannot be repeated. movies to follow will not get as big. what the artist being the first though it's kind has got all the laurels. a drinker i once worked with when shooting a documentary you would turn me down every time i asked him for a visual effects he'd say filina did everything by we have. keep it simple i see you share the same philosophy but i'm not sure cutting does it all will you keep it

simple but i think how would you feel about three d. in c.g. finks like an avatar. but if it is to. i think it's great but step by step we're leaning toward videogames so the more high tech it is the worse human the more technology the last are important and emotional unless you consider the antique so work kid characters emotion. for me the magical future is about three actors on stage two cheers for scenery and the play makes you we should if you look at the end the magic of cinema human curry's my radiating from the screen. present what's peculiar is that future is at the limits i'm in so it gets by with inventiveness and cinema has gone the way of expensive visual effects meanwhile television has come up with some very high quality t.v. series as usual america was the first to explore this territory but the sopranos

boss boardwalk empire they're all structure it is short stories there's no c t. is very high caliber very psychological and i think people will watch these t.v. series as feature films but my final question your next production is going to be international it will be in english is it just the language would be something global to it. i hope our cast will be international to. be shooting the film out of russia somewhere in europe we haven't picked a place yet. because on the cost we don't know yet anthony hopkins we don't know will it be in three d. no three d. will be filming pushkin square no spades. or it will be part of our present far thriller bus a fascinating story coupled with tre called skis do you find music that's stood in

the book and the plot is truly international return to the southern roots and thank you thank you very much for being with us and just the more adept that my guest today was obviously an award winning russian filmmaker and that's it for now from all of us here if you want to have your sound from mike drop us a line spotlight will be back with more for the common follow what's going on in and outside pressure until then stay on r.t. and take you.

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