Petr Fischer on Film and Czech Television
Transkript
Petr Fischer on Film and Czech Television
03 FRESH NEWS 6TH FRESH FILM FEST | FRIDAY AUGUST 14TH, 2009 | KARLOVY VARY | ENGLISH VERSION Actualities Fresh Shop Petr Fischer on Film and Czech Television Afro, Sex and Funky. In Other Words: Blaxploitation In the fresh festival shop at the festival centre right next to the ticket counter, besides FFF T-shirts, bags and badges you can also buy books about Petr Lébl, art magazines, and especially products of young Czech designers, for friendly festival prices. Just a few meters further, more creative visitors can make their own T-shirts, bags, or underwear, using original iron-on patches. Video Mapping From 10.00pm the liveliness of the Thermal hotel will extend even to the outside, with the “new visual art style”, video mapping. A 3D light projection will be screened on the front side of the hotel, and will add another, completely new dimension to it. Peťo Tázok, a visitor from a parallel universe. Attention please, attention please, tonight at 11.00pm Slovakian rapper Peťo Tázok will teleport himself from the town of VP84 into Karlovy Vary. If you don't know who we’re talking about, perhaps his aliases, Bene and Modré hory will tell you more. Peťo Tázok has been on the rap scene since 2006, with his album debut called VP84, with such hits as Dočasná záležitost (Temporary Matter). Last year, he released an album called “Album”, together with producer Karaoke Tundra, who is arriving tonight as well. You can recognize Peťo Tázok by his old helmet, leopard’s coat and funny high-pitched voice, with which he's declaring his lyrics, which will take you aback. In the annotation to the album, it says that city VP84 is located in a parallel universe. So thanks God for Teleport, which makes travelling so much easier... Black Hole into Space No experienced space traveller wishes to fall into a black hole, for sure. But “Black Hole” bar, that is something different! It's at the same place where the Rec Bar was last year, so it's easy to find. For those who haven't been to the Rec Bar, it's simply on the groundfloor of the Thermal hotel, opposite the parking lot. There is also a sunny terrace, from which you can watch projections on the river while drinking coffee, beer or shots, and eating healthy homemade meals – e.g. Hummus or potato soup. Push Those Peddles! Or would you rather not? Try a ride on an electric bicycle, with an electric engine, where you can peddle only when you really feel like it. You can fly up to 25km/h and no driving license is obliged. You will have a chance to rent these on Friday and Saturday in front of the Thermal hotel. PETR FISCHER TRUCK TURNER One of the three jurors for the Fresh Generation competition section is journalist Petr Fischer, who has worked for different periodicals and in the editorial office of the Czech BBC. Fresh news is that soon he will move to Czech television, where he will be directing the editorial office for art and culture. We asked him several questions about his job as a juror and about his plans within Czech television. In the early 70’s, the US film industry was in a crisis again. In earlier times, the industry saved itself by introducing new technological innovations (colour, wide-screen, 3D projection). But this time, salvation was found in targeting a new demographic: the African-American urban audience. In the period of 1971-1978 in American cinema, cheap movies that featured African-American stars had a leading role in the film industry. These films in different ways met the definition of the term “exploitation”. These were B-movies that were sensational, scandalous or had controversial elements (sex, violence, drugs), which were deliberately highlighted. But there were also films which attracted the audiences because of topics of racial emancipation or because of featuring African-American movie stars. These movies were produced by big Hollywood production companies such as MGM, Warner Brothers, Paramount or United Artists. These companies also provided distribution of movies made in smaller production companies, of which American International Pictures dominated the blaxploitation field. Why did you accept the role of a juror at FFF and what do you expect from the young directors’ films? For me the interesting thing is making up some rules that I can use when looking at films. In my work as a film critic I’m trying to find and create these measures every day. It’s very interesting when I have the opportunity to compare them with other jurors. Films within this section are debuts or second films, which is even more interesting as young directors in their beginnings are trying to break the stereotypes. In this sense it is probably the most “fresh” stuff that you can see here. And so what are the criteria that you set for evaluating the films you see here at FFF? They aren’t set in advance. That’s why working as a juror is so interesting for me. We have to find these criteria again and discuss them, which is exactly the work I enjoy. Discovering the criteria is always the most interesting part. It is new all the time, not based on a set criteria or set form. But evaluating according to set criteria has unfortunately been quite common in Czech film journalism. Those six films in the Fresh Generation section are quite “genre” typed films, how are you going to evaluate them? Each genre film works with a certain code, and this code is partly being confirmed and at the same time partly overcome. My favourite thesis is of Karel Thein's, a philosopher and a film critic. He says that filming is nothing more that filling some genre categories, but that in Czech cinematography, since the time of the new wave, we have seen it differently. Czech filmmakers made a step aside, they started doing social-critique, instead of doing film. But Thein states that the genre reveals what kind of a filmmaker one is, and that it's not only about confirming the particular genre, but also about stepping out of it, and redefining it. And do you think that Czech filmmakers can work within genre categories? I think they can't that they're still avoiding it, trying to say something about society instead. Actually, the only genre that Czech directors are trying to perfect is that of the “warm-hearted comedy”, a special genre that has been “defined” by the Czechs. So now about your new work for Czech television. What interesting things are you expecting from that? I don't expect anything at all from Czech television. The only thing I expect is that it will give us space so that we can do our work differently from how it used to be done there. And I was given such a promise. We can say that until now, there has never existed a real editorial office for art and culture, that it was only about simple announcing of events. There was no critical opinion, no endeavour to put things into a broader context, which is what I hope to change. We want to open up and broaden art and culture on TV, we want to have longer programmes, thematic blocks, on ČT24 we should be twice a week in the main news. Our aim is to present art and culture as a part of society, something that we're living, not only watching and consuming. MP Cotton Comes to Harlem, a detective comedy presented by United Artists in 1970, is often considered one of the key films to trigger the blaxploitation trend. The following year, two more pictures were released which, with their impertinence and peremptoriness, set the form of this American films genre (blaxploitation). Sweet Sweetback's Baadasssss Song, an underground movie which was very avant-garde and hence supposedly less attractive to audiences, showed with its successful sales that nonconformist films with radical messages do not necessarily have to be non-commercial. On the basis of Sweet Sweetback's success, the screenplay of Shaft was rewritten in the very last minute. The self-confidant hero of this film, who gains the respect of his white colleagues for his professionalism, became a model for the heroes of blaxpoitation films. During the following years, this category grew in the diversity of its genres. It offered horror films, comedies or action movies with martial arts, featuring African-American actors. Nevertheless, most of the new genres could not compete in quality with the skillfully made films in the detective genre, which became the spine of the blaxploitation group of films. Films starring Pam Gier, the most famous female African-American actress, brought a message to audiences about not only the African-American consciousness, but also about gender equality. However, by 1978 the fame of the blaxpoitation era was already gone and this whole group of films was fading out. Despite its relatively short duration, this period changed US cinematography in a crucial way. Above all it changed the amount of opportunities for African-American actors, who began to be among the best-paid actors in the industry. JF 6FFF KARLOVY VARY Magical Petr Lébl FRESH NEWS 03 FRIDAY AUGUST 14TH, 2009 ENG Fresh Ambient JUROR LARRY SIDER SJÓN SIGURDSSON AND AIDA ABBASOVÁ OPENING GRANDE DANCING IN TELEPORT PETR LÉBL, PHOTO: BOHDAN HOLOMÍČEK When he tapped on my shoulder, and on my life, in1992, it did not take him long to persuade me to cooperate with him and some others on a project called Kroměříž Studio (I think the director Potužil was there with him, too). Immediately I felt comfortable, open and in a friendly connection with him. He was pulsing with intensive energy and with a specific kind of tenderness. And so then we gradually started shooting Studio K. A bizarre community started around it, which was its core, but other people were catching up, according to the themes of particular parts. Lébl knew that in the Bílé Divadlo theatre company, acting improv was being cultivated and that I admired and used it. And since improvisation was one of the dominant elements of Studio K., this work immediately became a pleasure for my soul. Doing that was joy and playfulness and wit and imagination. What was the greatness and charm of Studio K.? Mystification. Parodying gibberish discussions about something and nothing, as we know them intimately from today’s screen. Conceiving of ideas on the spot – from a topic chosen by Lébl. School of interaction. Language esprit and inventiveness. Flashes of wisdom within stupidities. Seriousness within irony, the grotesque within the sublime. Finding bits of gold within the blather to make our thoughts sparkle. The spirit and sense of nonsense. The strength and clearness of spontaneously spoken text. The magic of the odd, and of intentional and unintentional humour. Poetry, a very distinctive poetry… Some young people from FFF asked me to help them after they decided to do Petr Lébl’s filmography at this year’s FFF. Namely, Jakub Felcman, the programme director of FFF, as well as Eliška Nováková, from the Faculty of Theatre Production at JAMU, and Vojtěch Mašek, from the Department of Screenwriting and Dramaturgy at FAMU (who was just finishing his theses on Lébl and Studio K.). I was very pleased by their idea. I’m glad that they accepted him, almost in a cultish way. But it’s right that they should do so. Lébl is irreplaceable, after him there is a 10 years gap. But thankfully he left us a wide and genius collection of works. Prof. Miloš Horanský Fresh Audio – tune your ears! This year’s FFF considers those whose eyes are weary with watching. And so as a part of the program there are many opportunities to listen to radio plays presented by FFF in cooperation with Vltava station, Czech Radio. Three radio plays will be played in the Thermal hotel and Elko club in Karlovy Vary. The high quality of sound will be enriched by the uniqueness of sharing the experience. The key feature of this programme will be the premiere of the radio play Salzburg Goulash, by Petr Pýcha and Jaroslav Rudiš, directed by Aleš Vrzák, featuring Josef Somr and Martha Issová. This production will take place in the Hall C at the Thermal hotel, today at 4.30pm. Within this programme, Fresh Film Fest will also present the most famous works of legendary radio director Jiří Hrdlička. Samuel Beckett’s All That Fall and Ludvík Askenazy’s It Was on Your Account, were written in the 60’s, and the most important personalities of Czech theatre performed as main characters (e.g. Karel Höger, Zdeňek Štěpánek, Vlasta Chramostová, Olga Scheinpflugová and Josef Kemr). The play It Was on Your Account can be heard on Saturday, August 15th at 1.30pm in Elko club. HLAVNÍ SÁL / MAIN HALL SÁL / HALL A SÁL / HALL B SÁL / HALL C KINO / CINEMA ČAS KINO / CINEMA PANASONIC KLUB / CLUB ELKO HOTEL THERMAL FASÁDA/ FACADE 9.00 11.00 10.45 10.00 9.15 14.30 15.00 Kinorama Fresh Generation Fotojatka Projekce / Screening Weitertanzen Projekce školních filmů / School Films Screening Centropa 2/2 Petr Lébl Retrospektiva / Retrospective 22.00 Hlavní soutěž / Main Competition 3/4 Petr Lébl Retrospektiva / Retrospective Zvláštní uvedení / Special Event 11.00 12.45 Hlavní soutěž / Main Competition 4/4 13.00 Fresh Classics (500) Days of Summer 15.30 Fresh Classics Film With Me In It PREMIÉRA / PREMIERE SOUTĚŽNÍ SNÍMKY / FILMS IN COMPETITION 18.00 Hlavní soutěž / Main Competition 3/4 20.00 Theatre Optique 2/2 21.30 Hlavní soutěž / Main Competition 4/4 23.30 Mimo soutěž / Out of Competition 3/4 Projekce školních filmů / School Films Screening 12.30 Zvláštní uvedení / Special Event Filmy / Films Visegradská karavana / Visegrad Caravan 14.00 16.15 Den Danske Filmskole Workshopy / Workshops 3D Animace / Animation 16.30 Panorama Rozum a Cit / Sense and Sensibility 22:15 Panorama Obyčejné šílenství / Ordinary Madness Petr Lébl Retrospektiva / Retrospective Filmakademie Baden-Württemberg Filmy / Films 11.00 11.15 Theatre Optique 2/2 13.15 Zvláštní uvedení / Special Event Na Blaník! ...téma: Franz Kafka Peter Kršák Studentské filmy / Student films 18.15 14.45 Petr Lébl Retrospektiva / Retrospective Mimo soutěž / Out of Competition 2/4 Egon Tobiáš: Jak je sladké tvoje žvanění Strážce kouzel 20.15 Petr Lébl Retrospektiva / Retrospective Revizor Das Mädchen mit den gelben Strümpfen 16.30 Fresh Audio Petr Pýcha, Jaroslav Rudiš: Salcburský guláš Fresh Generation Truffe* 13.30 Fresh Generation Sauna* PREMIÉRA / PREMIERE SOUTĚŽNÍ SNÍMKY / FILMS IN COMPETITION 17.00 Osma České debuty a druhé filmy / Czech First and Second Films Výběr z TV pořadů / Selection from TV shows Petr Lébl Retrospektiva / Retrospective 19.30 Studio Kroměříž I. Osma České debuty a druhé filmy / Czech First and Second Films Děti noci Centropa 2/2 Video Mapping Světelná show / Light Show 16.00 Sestra 16.00 17.30 Petr Lébl Retrospektiva / Retrospective Studio Kroměříž II. 19.00 Petr Lébl Retrospektiva / Retrospective FOYER DISKUSNÍ KOUTEK / Q&A CORNER Studio Kroměříž III. 14.00, 15.00 Petr Lébl Retrospektiva / Retrospective Setkání s tvůrci / Meeting With the Film Makers Fresh Generation Andělé tě hlídají Rozhovor s účastníky soutěže / Interview with Competitors 21.00 18.30 Fresh Generation Black 22.00 Visegrad Cocktail 16.00 ARLT 21.00 Sex Galaxy 14.30 Koncert / Concert 19.00 Rozhlasová hra / Radio Drama Kontakt Žiletky BAR ČERNÁ DÍRA / BLACK HOLE Petr Lébl Retrospektiva / Retrospective ...téma: Franz Kafka 20.30 Divadelní představení / Dramatic Performance Théâtre de la Liberté Paix intergalactique KLUB / CLUB TELEPORT 23.00 Peťo Tázok + Karaoke Tundra DJ Robot 19.45 Mimo soutěž / Out of Competition Elkland 23.59 BLAXPLOITATION NIGHT Sweet Sweetback’s Baadasssss Song Foxy Brown Truck Turner *Projekce budou překládány do češtiny do sluchátek Comix TEXT: ANNA KOPECKÁ, MARKÉTA POKORNÁ | FOTO: JAN KUDĚJ | TOMÁŠ DURŇÁK | TYPO: MATĚJ ČECH | COMICS: FI3ER.COM | STE.PAN | MARHLAD VYTIŠTĚNO ZA PODPORY