gianfranco rosi fire at sea

Rosi: Yeah, it's fantastic. You have to be the one that people will trust in order to make this journey possible, to arrive [and be able] to show death in my film.” He started describing what he was watching from his USB. I don't like to be a reporter when I make film. For me, when I shot that scene, it was everything because that scene is exactly the truth of a journey. Not only that, but this film was built to arrive to that. All this material then has to take shape slowly. Rosi: If you use that camera with one prime lens, it's fine, it’s not so heavy. Yeah, yeah. "When I set up the camera, I have horrible anxiety. So he took this piece of paper with him. That was the last scene I was able to film because after that scene I didn’t have any more energy to film. No Film School sat down with Rosi after the film's. Rosi: Then you don't get it, and you have to keep working on that and to keep waiting. Go there, look. Once you have these three elements, you know what you want to do, and you do it. Playing Along: What a Feeling By Andrew Chan. When I started editing, the whole film was built in a very conscious way in order to arrive at this tragedy. That’s what the film is about, and I didn’t invent that. When you get an answer, it becomes ideological, so I want to leave this space open. Rosi: I never have anxiety [about] filming everything. I am doing that, but I am not going to film anymore.” That was the last scene I shot, not because I thought the film was finished, but because I didn’t have the strength anymore to hold the camera after that. That’s another very important story. He’s a crazy man. And I sit down in this bar and I start saying, “Okay, this is Lampedusa. I was eating with the crew, dressed like the blue suit that they have, sleeping with them and talking with the commander. Rosi: I never understood that because for me, the only thing I see is a bad cameraman. At that point, the 6,000 people of the island disappear. There’s no doubt anymore that these are going to be my people; I’m going to take them to the end. But their passionate reaction of anger made me understand. It’s like being in the Second World War and being in front of the gas chamber and you say you don’t film because it’s too strong.”, I think this film could not exist without the death. I encountered death. I had to teach. Nobody can say to you, "I'm not interested in the film. NFS: It works with your philosophy in a way. You already go there with an idea, with an agenda, and with a thesis, and you have to demonstrate that they're right or wrong. Do we show that? Then who’s bringing them to Lampedusa? I love him. That doesn’t happen anymore, because this boat is intercepted in the middle of the sea. It's just because my sequence of scenes is wrong. You develop everything you forgot about, and then suddenly it’s all there. I give up everything. So I went to his studio where I met him the first day and he had his computer. Every time I had money, I put it in my film, but I never count how much money I spent. But I would’ve manipulated his reality because he would, in his life, never encounter one of these situations. Of course, there is the scene on the boat, which is pure documentary like photojournalism. Answers are just good for today. When I start a story, everything is isolated around me, and I’m only viewing it through the eyepiece. Once you had that in, that’s it. On the other hand, I did this one film, El Sicario, where I didn’t say anything. His 2013 film Sacro GRA won the Golden Lion at the 70th Venice Film Festival, while his 2016 film Fire at Sea won the Golden Bear at the 66th Berlin Film Festival. Lampedusa for me is almost a metaphor for what’s happening in Europe. They have fantastic wine there. You go back to do just sound? But when I was on the military boat, I was alone for 40 days and that was enormous suffering. The clouds, you know? I wanted to underline that in the film. With Samuele Pucillo, Mattias Cucina, Samuele Caruana, Pietro Bartolo. The next day, I went to see them again and they said, “Oh, come, we go to our room and we pray. But it’s a reality that has to be transformed into something else, I think. It's your point of view, and it's unique. Every time, it's still such an incredible surprise for me when that thing happens because I never know what's going to happen. He lures us into a cinematic, windswept, seaside vista, invites us to fall in love with the mischievous boy-next-door, and then slowly unveils a larger story that we simply cannot look away from. I read the same poetry in so many different moments and it talks to me in a different way constantly. Again, light is about subtraction. And then, I go to the radio station. The first thing I talked about with my editor was, “Jacopo [Quadri], I want to show this scene. You’re by yourself, with the exception of an assistant. I had to make advertising. My teacher used to say to me, “You asked them a question, yet the answer is not interesting. On the structure, I would choose more the structure of a poem than of an essay. When there’s someone in need of help, they have to save them. When I do it, I give up all my personal life. There’s a bus. NFS: What general advice do you have about approaching someone who's about to do a documentary? Fall 2016, Fire at Sea, Gianfranco Rosi With his last film, 2013’s Sacro GRA, Italian Gianfranco Rosi became the first documentarian to win the Golden Lion at Venice. I had this Panasonic 101, a little camera with the cassettes. Rosi: It is like that, but sometimes I wish I could give the answer like [Herzog does]. One of the most recent blazes was reported in May, a few months after Gianfranco Rosi’s superb documentary about the refugee route to Lampedusa, Fire at Sea, won the Golden Bear at the Berlin festival. So tell me a little bit more about your approach. We talk about everything. Fire at Sea (Italian: Fuocoammare) is a 2016 Italian documentary film directed by Gianfranco Rosi. It's like when you carve a statue: How thin can the material be before it breaks? And this is because I had a budget to do that, and to immerse myself completely in this film. I could’ve taken a migrant on the top of the hill, looking at the world that he doesn’t know and having him interact somehow with that. Gianfranco Rosi: I want to use everything that’s possible in cinema, visually, in order to underline reality. There was salt everywhere inside the camera when they opened it up. If I asked you to close your eyes and think about the last year of your life, you don't even remember 60 days. They go somewhere else after. Do you know her? I don't want to get more information. For me, that was a lesson, because every time I start a project, I have to metaphorically find this little piece of clay. This is what I want: for people to come out of the film and ask, "What can I do?" So how does this process change you? What is happening in Lampedusa? We eventually meet the sensitive Dr. Bartolo, who becomes our eyes into the harsh reality of the refugees. (Although he has only shown up on the radar of most North American cinephiles rather recently - either with this film or his previous effort, the Golden Lion winner Sacro GRA - he produced his first feature documentary Boatman back in 1993.) You have 20 questions, you have 20 answers. And then, they take the bus and they go to the center. He’s the conscience. Now, I have the privilege of, for the first time, being able to dedicate two years of my life making one film and not doing anything else. The death is an integral part. It’s more about your experience than a manifesto. But you have to ask more questions, but does this allow me to build an interaction? I find all kind of excuses not to film, especially when you are alone. It's a heavy camera. For the final 25 minutes, there's not a single word in the film, and all [we see] are these transformations of the characters. Before, when they arrived in Lampedusa, there was interaction between the islanders and the migrants. For me, writing gives me a lot of anxiety. [When we met, he gave me a USB key with footage and said] “Go home, watch this, I’m sure you’ll come back here.”. I am in a place and I spent one and a half years in Lampedusa. For 20 years it’s been like that. From the September-October 2016 Issue. This thing was getting dirtier and dirtier, and I think it was great because it gave a texture to the whole film. They were really disappointed. Then I have to meet Zia Maria and I’m going to discover another role, you know? Dr. Bartolo visits them in the port, very fast, unless there’s an emergency. And then there's awareness, which is represented by the doctor. Fire At Sea: Filmed on the Sicilian island of Lampedusa; aduring the European Migrant Crisis. Is there a name for this style of documentary filmmaking? Or you could’ve taken some of the immigrants and dug deeper into their stories, which some people want. Let’s see where it goes.”. This military boat is like a submarine, basically. It was very difficult. "Once you have something in your mind, suddenly you look, and that's happening in front of you. Exodus. There’s more than 50 dead bodies.” I said, “No, I didn’t go down there.” And he said, “Well, you have to go there and film that. I had a fantastic experience in New York. A shaft of light from a window in a former prison somewhere in the Middle East cuts a dynamic diagonal along an adjoining wall, where a mother is doubled over in grief for the son who lost his life there. Once the film was finished, he said, “You know, Gianfranco, I saw your film now, and it’s exactly the same as the day we met and has exactly this structure.” It’s something that belongs to you so intimately that you forget about it, but it’s what I was telling you about the piece of clay. ‘Fire at Sea’ … NFS: I know that you don't want to be pedantic and you want audiences to have their own interpretations, like any great art, but at the same time, this film and some of your others actually deal with really difficult political issues. I want people to know that this is unacceptable. Boom. Gianfranco Rosi (Photo by Henny Garfunkel), Click here to read our Winter 2021 issue, featuring. I think we live in the world where we don't need any more information. Do we film that? Subscribe to receive the free PDF! I canceled it completely from everything, and when I'm looking for something because I don't know how to go on with the story, it's not because I need to go back and look for a specific shot. Rather than focus solely on the struggles of refugees as they cross the Mediterranean to Lampedusa, Rosi uses the bulk of his film to observe the mundane life of that Sicilian island’s inhabitants. Even if 100,000 people shot in the same location, your point of view is different than all of them and you know that it's different. I want to get rid of that language.". Also, it’s a good thing to be paid when you work on something — to be paid as a cameraman, as a sound mixer, as a director, as a producer, because we put in a lot of knowledge and time. Now, you just need a camera, an idea, and commitment. And I’m a bit lazy to do sound every day for this. You have to transform it into something else, which in my case is more freedom to make my film. How much less information can I give? Official Facebook page of Fire at Sea, 2016 Italian documentary film directed by Gianfranco Rosi. Rosi: I was so lucky because I always had horrible cameras with me. Dead bodies everywhere. We have the fishing boat, the boat searching for migrants and the migrants, so three stories. Rosi then cuts to some beautiful, peaceful imagery. I'd rather have one little, special and unique thing that is happening and lose 100,000 other things around me. 20 global ratings. He's very significant, but emotionally there are two characters in the film: Samuele, and his subconscious guide. Most of it I shot with the 28 or the 35, depending on the light that I had, and then a very, very few times I used the 85, just for closeups. You arrive alone and with a camera as a filmmaker, and you have to start interacting with sea people that fight every day against all kinds of nature and things that put their lives at risk. This was an insightful and inspiring interview, on what looks to be an incredible film. The film leaves a mark without using the usual leavening devices — talking heads, graphics giving numbers and statistics, underlining music for emotional emphasis — that would make it merely well-intentioned agitprop; it’s art made under the most grueling of conditions. First, they’re people that I have a special relationship with, just like in life. And dead bodies everywhere? I told him as a joke that it was method editing. Therein lies Rosi’s genius. Sometimes I wish I were [Werner] Herzog, that he puts his voice in the films, and then I will not need to do a Q&A because everyone can just hear the explanations. You remember the 20 days that are important, and these are the elements that I work on. He shows me this little piece of land, where there’s 20 years of his life there. Feature films, when they're based on real stories, have the camera moving. NFS: But how did you decide who should tell this story? You win a prize and then you have to forget about it. If you consume everything, then you don't want that anymore. 13.2.2016 Giuseppe Fragapane, Pietro Bartolo, Samuele Pucillo, Gianfranco Rosi, Giuseppe Del Volgo Das Team beim Photo-Call. To frame that is horrible, you know, to expose, to think about the frame and light. We’re talking awards that recognize the importance as a piece of work here, and also of you to the community. Why don’t you go on the boat? I usually only use one lens. Many times, I had to leave the shoot and recover. The masterful documentary—Italy's contender for best foreign language film at the 2017 Oscars—is constructed and shot like a narrative. I come from the school of 16mm and I love the simplicity that 16mm gave me. You have to be able to grab something much deeper inside and you don’t do that through asking questions,” which is true. I’ve used all kind of cameras from the beginning. Rosi is best known for 2016’s “Fire At Sea,” the Oscar-nominated documentary which profiled in painful detail the European migrant crisis through the small Sicilian island of Lampedusa. by Gianfranco Rosi. I wanted to have a lighter camera, but it is what it is. And I think it’s brilliant that you don’t do that and knowing you, I’m sure that you don’t do that because I don’t think you would’ve felt good about it. Its breathtaking camera work, character relationships, and the way the plot unfolds all come from the conventions of fictional cinema, rather than documentary. There are these two worlds that cannot get together and exchange things. It has to be unique. Then tomorrow it's a different answer. Sacro GRA I shot it with a better Panasonic, and then this film with a fantastic camera, it’s an ARRI AMIRA that can basically shoot in the pitch dark, you know? No Film School sat down with Rosi after the film's New York Film Festival screening to learn more about his unusual documentary process, from framing his shots like a narrative DP, to why he never looks at the source material in post-production once he’s made his initial scene selections. They stay two days in Lampedusa. He was also the first doc director to win the Golden Bear at Berlin with Fire At Sea, a disciplined, urgent look at the migrant crisis anchored on the Sicilian island of Lampedusa, whose proximity to the African coast has made it a target destination for those fleeing their countries. But that’s good in the film, because it declared that I am the filmmaker watching him for the first time and then we go somewhere else — [to] steady shots, always very, very firm and letting things happen in front of the frame. I meet the doctor. Exodus. The protagonist can be in the background but it’s stronger on an emotional level. However, the film is not about this Italian boy, or about his family, or even about island life—it’s about Europe’s refugee crisis. And everything I’ve said so far is a long way of explaining what Gianfranco Rosi’s “Fire at Sea” is not. But 'Fire at Sea' also offers careful, thematic juxtapositions as it moves between shots of naval ships and detention centres and follows a young local boy, Samuele. A big chunk of what I needed was all in that story. Sometimes I feel that it is wrong, and I stop immediately and pretend that I’m filming, but I never say to the person, “I’m not filming.” They keep moving in their own life, and then I try to find a different frame, go there, and then start filming again. on Oct 20, 2016. I can say, "This is an island where people go and some of them die, and then there's this little kid..." and the audience expects things like that. So I sat with Dario and I start telling him all my experiences in those three weeks, and we wrote a journal with a possible structure, and it was accepted. In the hope of leaving, in desperation, the migrants are arriving to touch freedom, but so many people die on this journey. And I’m sure that you will do a good job.”. Yeah, but I’m always a producer. The doctor was one of my best friends. At first, you don't see anything, and then you put your eye in the microscope and you discover a new world there, with its own worth, and its own narration. I like that language in documentary. 4.0 out of 5 stars. Peppino was a person I met on the island at the beginning. I loved being there with no camera. I was planning to go to Africa to film Libya — I had another six months, a year of production. The whole film was built for that moment, and then to leave from this moment, and mourning this through silence. It’s not interesting.” Also, we have to also understand one thing, that the main protagonist of an event does not always have to be in the foreground. Focus on a good camera, good sound, good craft, and good story. He snapped, he got angry: “Why don’t you do it?” Chris Hegedus whispered for him to calm down. What would it mean, if you won an Academy Award? Gianfranco Rosi’s observations of everyday life bring us closer to this place that is as real as it is symbolic, and to the emotional world of some of its inhabitants who are exposed to a permanent state of emergency. It’s an image of such composed poise it could be from a Caravaggio canvas. I would’ve felt embarrassed in the first two or three days to take my camera and film or horrible things. Fire at Sea is a difficult film to evaluate, since one need watch it for a mere five minutes to get an immediate sense of Rosi's mastery of the medium. I had to sit down. Yes, but what would it mean if you thought about it. It takes me a couple of days and then I go back. The last day, they told me there was no way the boat was going to encounter any boat of migrants. There is a story of the rescue, and somehow, we have to put together all of this. Somebody already shot there." What’s fantastic about that camera is that you shoot at night in the pitch dark, and what you see is what you film. It’s like an epic —. Go on this helicopter, shoot on the helicopter.” I filmed the small rescue boat, and then I went into the boat to film what’s happening on the hangar, where all the refugees were. That’s reality that talks to you. Once I spent a month on my own, I saw it was impossible to make a film of 10 minutes on the island of Lampedusa. Yeah, my teacher was like, “You ask a question, you have to answer it. And the journey is all there: from Africa to the desert to Libya, prison, they’re drinking urine on the boat, fear of the sea, we cannot die in the sea, now we are reaching freedom and arriving in Lampedusa, where finally there’s the hope of freedom. To transform reality into something else constantly, that’s something you do editing and while you’re filming, too: waiting for the right light, the right frame, am I filming handheld or with a tripod? So you produced the first films yourself, and this is the second film that you’ve worked with other producers because of a bigger structure. No Film School: In the NYFF Q&A, you said that using the language of cinema in your documentaries is important to you, and that really spoke to me. At a certain point, when they understood that there was no hope anymore, that all the men were dead, there’s that scene that everybody’s crying, they’ve been crying for hours. I have to find something else, a language, which is more emotional and less informational. In the center, they get identified, searched, have their first picture taken, are given clothes. I don’t know what we have. There were other scenes there that we put in, and I was never happy because it was not really him. I meet the grandmother because of the kid, and I meet the father because of the kid. It was also selected as the Italian entry for the Best Foreign Language Film at the awards but it was not nominated in that category. I knew someone who knew her very well, and he invited me to visit her studio. I don't write anything, but I incorporate the language of cinema as a framework to tell the story. I said, “One and a half years ago, you are the one that made me come here by giving me this USB here. He very slowly became my assistant and guide, and I was able to enter in such an intimate way into these houses. The commander of the ship asked me, “Did you go and see what happened under the boat? I have sometimes near me a poetry book, and every time I open it, it's different. Yeah, and I think also there’s this tendency of wanting to empathize with the subjects, which is a typical Western way of cleaning their conscience: why don’t you give me the human? It’s, “Fuck, you know, today I have to film.” And it’s this kind of anxiety, like the first day of school, that you want to postpone it constantly. Many are near death; others are already there. Make your film. And that’s what you did, right? With the migrants, I never had that chance. Once I filmed that, I felt like I didn’t need anything else, it wouldn’t have that strong sense of desperation and that sense of narrative and truth. If I can reach that, then it was worth making this film. I decided to film, for the first time in my life, only on the tripod, because I wanted to disappear more. But there is a scene that is completely handheld at the beginning of the film, where [Samuele’s] looking for the branch. Make your first two or three films on your own without asking anyone. After a big tragedy in 2013, where 500 people died a few hundred meters from the island, the Italian government decided to create this imaginary line and moved the border from Lampedusa into the middle of the Mediterranean Sea. Collaboration with his subjects is essential: a key scene, in which Nigerian migrants chant a harrowing story about their deadly passage, could only have come about from Rosi’s embedded, empathetic methods. You just need money to eat. My identity of a sculpture is all here.”. And so, the film reflects exactly the status of things these days. My films are documentaries because everything that's happening is real. For me, the story of my film is the story of the memory that I recall of the moments that I think are important. The first day of class, I asked him why he didn’t do interviews. Commissioning editors want you to start with a lie, because they want you to write the script, and then the film has to be exactly the script you write, and that is wrong. They’re brought to Lampedusa, usually at night. I have to go through a small hole. 1 talking about this. Migrants are arriving and people are living there. Once I decide to film, all the hope and emotion are there, those little bits of clay that I have to then develop. Leave from this piece of clay respect his world an issue, this is what I want to show scene... Mexico and do the film and ask, `` you keep losing things. shows this... Find a beginning and an ending get the permit to be a different way constantly they barely touch each,. A few days earlier, so three stories the radio station 16 on Below Sea level keep waiting get FREE... I say when people ask me, gianfranco rosi fire at sea whole film I go the... 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