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Your new movie Gelateria
- in a few words, what is it about?
The search for authenticity in both life and art (which seem to me
indistinguishable from one another).
You have stated
somewhere that Gelateria
was inspired by British absurd cinema from the mid-1960s to early 1970s -
so what do you find that appealing about these films (also in relation to
your own movie of course), and some of your favourites?
Absurdity has a way of stopping you in your tracks. It breaks our daily
(often prescribed) rhythms and expectations which forces us to then
question things. Films of this period had a certain freedom to them and
were often crafted by idiosyncratic cinematic explorers. These films had
the qualities of being open, humorous, experimental, critical and
reflective. One of my favourite films of this period is Don Levy’s Herostratus (1967) and also films directed by the impossibly
wonderful Lindsay Anderson — If… (1968) is a masterpiece.
It was important for Arthur and I to respect our audience’s
intelligence and explore our obsessions in a way that would allow
for multiple interpretations and reinterpretations. (Other)
sources of inspiration when writing Gelateria?
The film is based on a real life event that happened to Arthur in 2009
where he had some of his paintings stolen by an art gallery (which did
not exist) in Salt Lake City. Long story.
Having spent a lot of time together, Arthur and I based the film on many
of our conversations, discussions, debates, dreams and memories. The
biggest source of inspiration was the fact that we had both been living
out of England for over ten years and wanted to explore our country
retrospectively — a vantage point which enables genuine critical
evaluation, nostalgia and even (in our minds at least) making Old
Blighty appear… well… almost exotic. The fish and chips, red phone
boxes, Carry
On films, Charles Hawtrey, the Bealtes…
Also certain filmmakers inspired us:
Fellini — His warmth, imagining his discussions about cinema over
espresso, large plates of spaghetti in a restaurant filled with one-off
characters. Childlike innocence marinated with adult introspection.
Cassavetes is also a huge source of energy. That drive to get his work
made despite the odds he faced. His dedication to truth, love and what
it means to be human. The fact he did not have marks for his actors and
prioritised character over the technical aspects of filmmaking. Those
films he made are timeless, and as far as acting, nobody in history is
better than Gena Rowlands. She is on a level that is light years away
from anyone who has ever trod the boards.
What
can you tell us about your co-writer and co-director Arthur Patching, and
what was your collaboration like, both during writing and on set?
I have known Arthur for twenty three years — we studied art together
in England, clicked instantly, became friends, lived, travelled, and
made short films together.
Arthur graduated from Goldsmiths and works primarily as a video artist.
We know each other incredibly well and have a certain synergy when we
work. It was a positive collaboration on set and I am proud of the
playful atmosphere we were able to create. Editing would often take
place very late at night in Berlin and run into the early hours of the
morning. These sessions could be somewhat… tempestuous. But we are
sort of like brothers so it always ended up okay in the end.
What can you tell us about your
directorial approach to your story at hand?
Owing to the fact that we like to work mainly with improvisation, it was
important to create a fun and relaxed atmosphere as a foundation for the
actors to take risks and experiment with their characters. I would
encourage every performer on the set, including the extras, to “try
anything” — within the parameters of safety and respect for others.
As the film explores freedom, it was necessary to encourage chaotic
elements, which would allow the actors and ourselves the opportunity to
shape that chaos. Only when the door is left slightly ajar can the
freedom to explore take place. I wanted to avoid a rigid approach to
filmmaking and dive into the currents of the unknown. We aimed to
execute preconceived ideas with these gifts that seem to arrive when you
let go. You also
appear in front of the camera in Gelateria
- so what can you tell us about your character, what did you draw upon to
bring him to life, and did you write him with yourself in mind from the
get-go?
My character was based on Arthur - or at least the id part of his mind. I did not want to act in the film at all, but circumstances
rendered it a necessity. Arthur, or at least the period in his life the
story was based on, was going through major changes. Ultimately (despite
my initial reluctancy) I did feel that I could tap into his emotional
state at this particular and somewhat peculiar juncture.
Do talk about the rest of your cast, and why
exactly these people?
We fell in love with this cast. They were exceptional in terms of
dedication and talent — it was a genuine collective filmmaking
process. Everybody gave so much on set. They were bold, took risks and
committed wholeheartedly. We were very selective with casting. Of course
we wanted solid performers but we also wanted interesting and arresting
faces. Personalities. Ultimately cinema always comes down to character. A few words about the shoot as
such, and the on-set atmosphere?
Our fantastic co-producer (Louise Hamelmann) worked very hard to ensure
things ran perfectly.
The atmosphere was always playful and designed to create a foundation to
be experimental and find things in the moment. It was a challenging,
enjoyable shoot over a period of 18 months — shot in about five
production segments in three countries. It was smooth. Although the dog
in the pub scene was hard to direct… but after a pat on the head and a
bone… he nailed it. The $64-question of
course, where can Gelateria
be seen?
We have exhibited at four film festivals so far and have another one in
October (if the current situation with Covid-19 allows it) in Italy at
the Mostra Internazionale del Cinema di Genova. We aim to distribute the film next year after we complete our festival
circuit.
Anything you can tell us about audience and
critical reception of Gelateria?
We were awarded the Grand Prix at the Kinolikbez Film Festival (Saint
Petersburg) and received high praise from the head of the jury, Vladimir
Bortko (one of Russia’s most acclaimed directors). The Russian
audience also seemed very enthused and the film went down well when it
screened in Athens. At the UK screening... one could feel the
polarization. Arthur and I had an uncomfortable Q&A.
The film has fortunately been critically acclaimed, receiving good
reviews from many reputable publications. This was encouraging and
energizing. It's nice being able to share these reviews with the cast,
composer and animator who all deserve the praise the film has received.
Any
future projects you'd like to share?
I’m currently editing a short film I directed called An
Approximation of their Barbarous Manners, starring legendary actor Bruce Glover (Chinatown) — I’m lucky
to have another great cast. Experimental filmmaker Thorsten Fleisch was the cinematographer…
he’s done beautiful work. As far as I know,
you've entered the filmworld as an actor first - so what can you tell us
about that aspect of your career?
I trained as a theatre actor at the Central School of Speech and Drama
in London. I’ve been lucky enough to have had an international career
in theatre, television and film. I have been privileged to have worked
with some really wonderful directors including David Cronenberg, Denijal
Hasanovic, Crispin Glover, Lesli Linka Glatter, Alik Sakharov, Thorsten
Fleisch and Maxwell McCabe-Lokos — I learnt a lot from being on these
sets. Starting off as an actor certainly means I understand certain
things that are important to actors on set for them to be able to do
their best work. My main objective, as a director, is to allow actors to
express themselves without inhibition. I want to give them the space to
be free, focused and in full knowledge that I am there for them
(enthusiastically) no matter what.
How would you describe
yourself as an actor, and some of your techniques to bring your characters
to life?
I like to prepare, work hard and then allow for a certain whimsicality
on the set. I thrive on rehearsals as I can try things out, find ideas
and be experimental. I feel atmosphere and moments are what matter to me
the most — in life and acting. I am an energetic actor and like to
take on very different characters. To be honest, it’s hard
deconstructing yourself as an actor… I’ll let other people muse on
what Serritiello’s about… What made you branch out into writing and
directing eventually, and did you receive any formal training on the
subject?
The need to offer an alternative to the current cinematic landscape
which I feel is (for the overwhelming majority of the time) stale, rigid
and uninspired. I am genuinely passionate about cinema. I think about it
most of the time and I enjoy being able to express myself in a cinematic
way. I feel like I learned about cinema through acting on other
directors' sets, watching films, reading about film — being engaged
with the art form in a practical way. Filmmakers, writers, actors,
whoever else who inspire you?
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Fellini, Cassavetes, Buñuel, Kubrick, Godard, Bergman, Lorca,
Apollinaire, Ginsberg, Shelley, Bukowski, Kerouac, Gena Rowlands,
Charles Hawtrey, Dirk Bogarde, Monica Vitti, Anna Magnani, Jean-Pierre Léaud,
Vittorio Gassman, Ugo Tognazzi, Vanessa Redgrave, Zbigniew Cybulski,
Nick Drake, Miles Davis, Bob Dylan, the Beatles, Patti Smith, John
Coltrane, Picasso, William Burroughs, Dennis Hopper, Kirchner, Skip
James... Your favourite movies?
Il Sorpasso (1962), Wake in Fright (1971),
The Barber of the Poor District (1982), 8½ (1963), That Obscure Object of Desire (1977), Reality (2012), Je Rentre à la Maison (2001),
Opening Night (1977),
… plus at least another 100 films that have blown me away. ...
and of course, films you really deplore?
Many, Mike, many… Let's just say I have a tendency of exploring the
cinema of the past.
Okay Mike… I’ll give you one… Love Actually (2003). Your/your
movie's website, Facebook, whatever else?
Our IMDb page: https://www.imdb.com/title/tt3195776/ Anything else
you're dying to mention and I have merely forgotten to ask?
Thank you for your positive review of our film and this interview! Thanks
for the interview!
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