Doro Hohn asked me some questions about Obscur, for a better understanding of the script. And I will post them here for all those interested in a little bit more about the project.
1. Could you sum up (in a few sentences) what “obscur” is about? / can you name the topics of this project?
* I can not sum up what is about because it doesn’t has a center theme. Or I try to not be conscious about, because I believe in the openness of the core of this kind of film.
Themes like belief in the breaking of ones past to changes the way one see things. Like the lack of consciousness and what can be in there. Like immortality and what effects that can have on a suicidal. Like spiritual duty. Like absolute desire.
3. Why do you want to tell this story?
This story is very important for me because it deals with one of my most fundamental fears and worries. With the mystery of what is behind consciousness. What is behind culture and order. How chaos works and why is all so beautifully crafted even without human control. Like in nature, like in space, like in weather. IN plants, in subatomic. Everywhere around us. There is no rule. No control. And everything is amazingly beautiful. And even whay this all seams ‘beautiful’ for us, people. What is this natural beauty and fascination.
4. Why do you think it is important to tell this story?
5. What inspired you/ what questions did you ask yourself while writing the script?
I write very weird, because I somehow listen to what the characters tell me. Once I get them in myself they kinda speak to me. I just put them in the room, in his found room. In his open/closed room.
I started to write the script from a few older ideas of mine, the man that keeps on suicides without success to die. The girl that wants to meet her rapist after a long time to understand to reexperience her rape, because now is only a fantasy and it doesn’t has anything real anymore. And Mare came about as Nuku’s wife and the accident of his death. Of his uncontrolled experiments with death and undeath.
6. Why do you choose this (stylistic/symbolic) way to tell the story? Why not in a psychological way?
Psychology is based on the presumption that all can be solved in the mind. But I believe it only can be solved in experience. That is why we chose dramatic arts. Is wisdom and is exploration with experience not only phantoms of it, like painting, writing, sculpting. We do it. We need to move it, feel it. and get those feelings in the others. Is human for the human. As directly as possible.
Symbolism is for me a gate. Symbolism is an infinite way of opening the meaning. Meaning is so unique for all of us. Meaning, deep, emotional unconscious meaning is special for each one of us. So for me for me everything has to be opened up and metaphor and symbol are magical old tools to transcend concept.
7. What does this room (where they are in) stand for?
The room is dark. infinite darkness. darkness where all are one. and they are on the edge of it. ready to dissapear in it.
Darkness is the ultimate space, the space we enter in deep silence, in deep meditation, when we close our eyes. Is a darkness the has no sound, no time. no death or life.
8. What and who is Mare?
Mare is a woman that lost all her consciousness and her life force is moved entirely by her inner drives. By her animalic inside. She has no memory or learning except those of her genes. She can be seen as a demon, but for me demons don’t exist, they are just very very desperate and disparate beings. The opposite of enlightened beings. No ego. But only desire.
9. What do these characters represent/ what do they stand for?
Well I have no idea what they represent. They only want to satisfy one of their existential desires. Mare to obey herself. Nuku to understand his immortality and through it help others. Lara to brake from her past, from her bad choices and fears.
10. You describe an explicit way of brutality. Why is it necessary for you? – which role plays (physical) brutality in this script and in your work in general?
Brutality if we look for its definition we will not find a good or bad definition. In a normal way is a forbidden practice. It supposes an opposition from one of the parts envolved.
For me is not brutality because both parts sees it as a necessity to brake through deep patterns of protection. Pain is a normal part of life. But because of our fear of pain we keep hidden inside so many traumas. I think that is how traumas are formed.
11. What picture of femininity do you want to create?
I want to bring in women the idea of independence. I find an education of total belonging in women which creates a manhood which in turn creates a femininity. And I don’t like this system it created so much domination from man. I believe in individuality. Not sex. Our biological root should not create us as personalities only because of social pressure and customs. I believe in a pre-sexual nature of people. So for me women are men and men are women. Women have more sensitivity and historically are seen as symbol of purity and emotions.
12. There is darkness in this script – as it is in all of your films. Is this you way of seeing the world? Your way of expression?
Darkness is dangerous for many. But without a real reason. Darkness is infinite and peaceful. Darkness brings us close to our own inner beings. Is infinite and in it things become similar. Become one. Distinctions fade by there own.
Silence and peace is dark. It is not a place of hiding but a place of dissolving into.
13. Nudity plays a big role in your work? Why? What does it mean to you? Why do you want it that way?
Nudity is body. Is unobstructed body. Nudity puts the spectator to see himself without protection. It reminds him about his own body. His detached from or connected body. In nudity people perceive things in a more immediate way. We are closer to things. To emotions.
Body with its uniform color, with its so natural shape and movements gets us closer to a definition of purity. It is unified. There are no differences between lower and upper body, no coverings and out in the open.
I don’t agree with things covered to show more, to be more sexy, to become erotic. I need the body as it is. Simple, natural, beautiful. Pure. It helps the mind to come closer to the body to direct perception of near world.
14. What kind of actors are you looking for? What do they need to transport and what do they have to deal with?
I am looking for actors that one time or another found out that fighting to become heroes, fighting to create an exquisite armor that everybody will love and appreciate, is not the way. But that only cutting through our layers deeper and deeper can help us and our spectator. That not falseness of beauty but sincerity and emotion can cleanse us from lies.
Actors that have inside them the courage or madness or dare to let go of themselves into the arms of the character and the story.
15. Why do you chose this way of showing sexuality? what do you mean with that? why do you want to show it? what lies underneath?
Sexuality is another form of emotion as anything else, a powerful complex and amazing kind of emotion which out of health issues was confined between two people and only for reproduction purposes if possible hundreds of years work in our minds soo soo good.
For me sexuality is an open world that, because of its taboo, is kept in darkness is kept being treated as a very low and cheap thing when in fact is so rich and amazing. Is one of the most fundamental experiences of our body. We have special organs for it. Sexuality is directly expressed between people. Why should it be so poorly represented and used only for male female sex. IN bed. It is silly.
16. What influences your work? Your style?
I am very inspired by religion. By direct contemplation of reality. I feel connected to the European style of portraying reality and the human nature. I love the Russian way of seeing the human into nature, as being growing from nature, from plants and trees.
I appreciate the structure of American commercial cinema although I create against it.
The Japanese cinema, Terayama, Teshigehara, Akio Jisoji.
The french new cinema du corp, Bruno Dumont, Philipe Grandriex, Garrel, the spiritual cinema of Kieslowsky, Tarkovsky, Bella Tarr, Haneke, the operatic madness of Zulawsky, the rawness mystical nature of Herzog and Trier.
The kindness and hope of Menzel, Mihalkov, Fellini, Visonti.
The political transgressive of Pasolini and Carax.
Directors that one way or another try to promote the tolerance of an inner personal way of looking at the world, a wider way, a open way, a difficult way. That normal people keep on refusing it.
17. What are you? An artist? a filmmaker a director?
Well I am nothing yet, all these things are emblems. And are part of what others tag you as be. And different people see you in a different light. I try to be a friend, a middleman between the world of the film and actors, and crew and spectators.
18. Why this kind of stories? Why in such a way? What do you want to achieve with your work?
Now in my work I just try to achieve a deep kind of sincerity. Something that becomes more and more amoral. More and more far beyond normal codes of society, because society is based on a lot of falsity and lie. So talking about sincerity of the mind, feeling, body, existence is transgressive. People constructed this world to protect themselves from enemies. From fear. And they payed with their soul.
We just remember them the existence of the soul.
We sacrifice everything for that.
My characters sacrifice their lives, and sometime they even lose their lives, only to find their soul back.