I never thought about film and spirit. I was asked to do it for theatre.
I would probably start to think about it in terms of genetics. If the enormous diversity of spirit was destroyed during war, if we are living frankensteins monsters after all, patched from the remains of our ancestors, weak and easily industrialised to the cores of our beings, it is perhaps time to become the mad scientist of Jurassic Park, and try to revive the old strange spirits, to crossbreed them with the modern man, to hybridize. Film has this power, it cuts and glues the frames like you cut and glue the genetic code. After all the best post-modern art did just that. But it’s the hardest of all tasks. I don’t think anyone ever succeeded, no, sorry, Greenaway is perhaps the only exception I can think of, obviously he can not be mentioned without Sacha Vierny, those two are like a single being. The reason I don’t give you more examples is that I’m not that fluent in cinema, there are certainly a few more, I’m sure. In this metaphor of film as a spiritual genetic code, what we should not forget is the biology of that code, the epigenetics – how to make a true living code, not just a mash-up of your favourite music and image, with a bit of snobism, that will become a lifeless mutant incapable of breathing and breeding on its own. If someone was to really conjure spirits on film I’d say he should start with understanding how the machine of spiritual reproduction works. I would then notice, that as in genetics, it would be safe to introduce a single gene, a single important mutation, rather then trying to spawn into totality some ancient, or new form. Continue reading
After a superb review on my latest film, #Beings, here, the film critic Maria Mantaluta asked me a few beautiful questions about filmmaking and my work.
M.M.: I’m not sure how well, or even if, our readers know you (even after the review for one of your films, #Beings), so why don’t we start with a short introduction.
P.S.: Amateur filmmaker
M.M.: That was very short indeed, so I’ll just add that Paul Stefanescu is a passionate filmmaker (not sure about the amateur part, but so be it), who’s not only making films (…and other arts) but also hosted film screenings in Bucharestand is a breathing, moving performer. Personally, I always felt that your social media accounts are more like an on going virtual performance. But it’s not me speaking here, so let’s get back to our questions.
What can you tell us about your older projects?
P.S.: #Beings and Sleep-Awake, two “exorcism” films, as someone once described them. –
If that doesn’t make our readers curious, I don’t know what will. Continue reading
You can now check out my performance videos too.
Waaa soo soo beautiful, FILM New Europe wrote about our project, it is a great exposure for us and we thank them very much for their open heart to our kind of film.
[link-preview url=”http://www.filmneweurope.com/news/romania-news/item/113449-production-independent-romanian-feature-film-in-preproduction” forceshot=”false”]
Organizam in fiecare Joi o seara de film necunoscut in Plantelor25 la etaj.
Am inceput cu filmul Le Orme si apoi Paganini lui Kinski, Fassbinder cu Despair si Catherine Breillat cu A Real Young Girl.
Unii dintre voi nu folositi facebook-ul unde avem un grup inchis pentru cei interesati de evenimentele noastre, asa ca am facut acest newsletter pentru a putea pastra contactul cu activitatile noastre.
It all starts by looking down in deep waters and we see the title shining on the murky water. All of a sudden a white figure comes towards, us, towards the surface and comes out of the water. It is Jake. He swims to the shore where Gamma a little skinny girl is waiting. Jake comes out of the water but has no contact with Gamma, is like they are both unknown to eachother. And then we see trees moving in the wind, and big water flowing, and clouds and fog moving. In a dark room Otte is washing her paralyzed mother Imola. Near the bed on a simple chair there is the Professor, the confessor and adviser of Otte. The professor talks with Otte about living alone, and why it is impossible form Ottes body and mind. She wants to lose herself into another.
In the same night, in another part of town, Jake is working on 3 big monitors, at his research desk. Looking for something, trying to entangle an immense theoretical and scientific discovery. He thinks, he is bored, He works with passion. He lies on the floor. He throws papers away. In a dark corner of the room very quietly is Gamma. She ask Jake about why is she there, and they talk about the difference between object and vibrant presence. About a third existence.
Jake is sleeping and a computer message is waking him up and scares him. It is his friend Phil, also a scientist, that confirms him that his findings about a Global Magnetic Shift and thus physical laws in continuous change are correct. Phil invites Jake to come to their lab and work on it. Phil also confirms that the Shift is changing people’s behaviors and makes them weirder and more violent. Jake responds that he needs to save someone first, then he will go to them.
Jake goes to Otte’s home where she very hardly lets him in. She thought he was dead. She was just preparing herself something very raw and bloody thing to eat. He doesn’t want. They talk about their love for each other and how they keep it hidden. And how each one wants to become the other. Jake is let to stay only for one night. Continue reading
Man portrayed on the stage is significant as a social function. It is not his relationship to himself, nor his relationship to God, but his relationship to society which is central. Whenever he appears, his class or social stratum appears with him. His moral, spiritual or sexual conflicts are conflicts with society.
I need someone to help me with some Administrative Help
because I am not good at it at all
I can’t make phone calls, I can’t set meetings and castings, I can’t deal with responses to ads, I can’t keep contact or initiate beautiful hangouts with actors and crew, I can’t look for marketing or PR.
and all of them are so so vital to any filmic endeavor.
I need someone that can understand Art for art sake, someone that is not against gay people and BDSM, someone that understands Performance Art and Zen philosophy.
It is such an immense pain not to be able to do anything because you can not connect.
My helplessness is not fully understood by me. It seems to be a forgotten trauma mixed with my fear of expectation from other and irrational fear of suspicion and misunderstanding.
There are no financial compensations. I don’t make films that would make money. I make films as medicine, as a floating device, as world and meaning to live into.
Please help me make film.
Bad, Ugly, Stupid film
I am dead without it.
‘I’ means – all of us, us within the I, the I of this world we try to set free.
‘I’ am one of those that work to open and widen new worlds. Utopias. Places without Evil. Open spaces of open heart of Open soul of open consciousness.
If you want to understand a little about what a producer is, and what he does into a film, and what are the hardships of some huge producers out there.
Thank you all that made our projects possible. By remembering your presence in our projects and the things you’ve done, make me so overwhelmed by gratitude and amazement that so many lifes and souls, so many emotions and ideas have lived and united in QualiaFilm’s videos, videos that doesn’t promise you anything precise, nothing useful, nothing to be proud of. And still all of you had something to take away with you from these experiences and that is the most beautiful thing in the world. People that live for life itself and explore it as such a magnificent Jewel it is.
Thank you with all my heart.
for our collaborators and participants
see our Thank You page: ——–>
“No artist tolerates reality.”
Pentru ca Linear A este un proiect pentru nopti cu temperatura de peste 20 de grade cred ca o sa il impingem pentru primavara/vara lui 2014.
Pina atunci insa dezvolt alte citeva proiecte bune pentru sezonul rece. Mi-a placut foarte mult furtuna de saptaminile trecute si voi scrie un scenariu despre o fata care se lupta printr-o astfel de vreme sa ajunga la malul unui Lac. Un Lac cu o faleza minunata si o asezare enolitica necunoscuta publicului larg. Asa ca vom astepta o furtuna sau si mai frumos un viscol puternic.
Mai este si un fel de documentar fictiv despre povestile din mintea noastra si cum ne ajuta si ne coordoneaza si structureaza interiorul si exteriorul. Un film care deocamdata se numeste Images of Rape. Mi-am dat seama ca suna foarte similar cu colectia de filme extreme Images of Death si cumva sint asemanatoare ca prezentare si mitologizare a realitatii si intelegere a realului ca o simpla stare de spirit (state of mind).
Si ar mai fi un film despre frica mea cea mai mare, erotismul homosexual, un film care deocamdata se numeste Gay Delights si este atinge fenomenul homo-erotic, nu stiu daca gay, in care barbati apeleaza la alti parbati pentru sex pentru ca este mai usor, mai pornografic si cu siguranta fara nici un sentiment.
Incercind sa gasesc ceva subiecte horror mi-am dat seama ca frica reala simt fata de homo-erotism si fata de intunericul fara limite si fara forma in care se pot naste toate posibilitatile monstrilor interiori datatori de durere. Frica de torutra fizica. Si cumva cele doua se pot insaila foarte interesant.
Sa vedem, inca sintem in stadiul de frustrare a scrierii scenariului, in care scenariul nu vrea de nici un fel sa coteasca asa cum vrei tu. Si un razboi plin de nervi izbucneste intre tine si personajele si lumea din scriitura.
Ca regizor nu am posibilitatea sa fac film, asa ca imi donez scenariile oricarui interesat de filme exploitation, low-budget, experimental.
Le donez pentru a putea sa scriu in continuare si pentru a nu mai fi obsedat de ele si de imposibilitatea de a le face.
Si nu numai atit, ci voi participa si cu bani la realizarea lor. In caz ca este nevoie.
Un detinut este dus afara din puscarie si bagat intr-o cutie de lemn.
O carte despre un loc intre un ‘mine’ si ‘minE’ în care există o intreaga lume incă necunoscută. Nimic nu poate fi la întîmplare chiar de asa alegem să fie. Si daca fiecare lucru tinde să aibă un rost, un rost nespus si de multe ori nestiut, acestă carte si ea are un rost, un rost care inca nu are existenta. Este o carte a liniștii isterice. Si fiecare va intelege nu din idei sau din teme, ci din cuvinte si ascunsele lor. Dar această carte nu are un inteles. Este un instrument de către noi-ire.
Si cum nu exisă un personaj coerent in carte si nici o lume narativă pe care să o putem numi si urmari de-a lungul intregii cărti, putem sa luăm ca personaj principal pe ‘unul’, si lumea sa interioară si accidentala…