INTERVIEW WITH DIRECTOR MELPOMENE LOUKANIDOU

  • Was there a particular event or time that you recognized that filmmaking is your way of telling stories?

It is a recent time. It’s since a very good and friendly person, during my film studies, helped me to “unlock” my instincts for expression.

  • Do you think it is essential to go to a film institute in order to become a successful filmmaker?

It is not.

  • Is it harder to get started or to keep going? What was the particular thing that you had to conquer to do either?

Generally without passion it is difficult to make films. The inner strength.

  • What was the most important lesson you had to learn that has had a positive effect on your film? How did that lesson happen?  

The people you work with, feeling the script. Convincing without further explanation. It’s rare, I know. I just realized it later.

  • What were the production realities from casting through editing that you had to accommodate? How did you navigate those compromises or surprises and still end up with a cohesive film?

I think it was simple. I knew from the early days of pro-production the existing ones, the faces of the film. I took advantage of their faces and the landscape itself.

  • What was the hardest artistic choice you made in the making of a film, at any stage in production?

In the post production. To throw away my favorite shot from the decoupage. For a tighter structure.

  • You are a collaborator. How have you discovered members of your team and how do you keep the relationship with them strong?

Living and having time together beyond making films.

  • What do audiences want? And is it the filmmaker’s role to worry about that?

Each movie will find its audience. As lovers do.

  • What role have film festivals played in your life so far? Why are they necessary? How do you get the most out of them?

Apart from recognizing your film at a festival, you show that you also exist among them. Film Festivals are indispensable for evolution and a relaxation after all our attempts at a film.

  • Do you believe that a filmmaker should be original and fresh or he/she should stick to classic but safe cinema style?

Who likes stagnation?