Gustavo Travieso (Architect. Design professor at the Faculty of Architecture and Urbanism UBA, Buenos Aires, in the chair of Arch. Javier Sánchez Gómez. Filmmaker) and Raphaël Castoriano (Artist, art advisor and founder & creative director of Kreëmart. Filmmaker) are the directors of the exhilarating experimental documentary Carlos Gómez Centurión: I Say Mercedario. Film selected for Experimental Brasil.
1. What led you down the path of experimental filmmaking, and how do you perceive its rolein the broader landscape of cinema?
RC: I have worked in the artworld for 20 years and my experience with art has taken me down the path of experimental filmmaking, because it is all about freedom of expression. There is a newgeneration and a new public that wants to experience films with a little more character than acommercial blockbuster.
GT : In my case, I am an Architect, always around art. I have the practice of design, physical
structures and language, but above all aesthetics. My studies in the history of cinema helped me easily enter the visual world. Another language, same speech. The audiovisual industry tends to monopolize. These kind of spaces fight against it.
2. When crafting a film, what is your approach to storytelling and how do you balance it with
RC: Music really guides the narrative for me. As long as the sound fits, we are able to take risks withthe picture itself.
GT: This is always different. It depends on the artist we work on and his work. There is like a
harmony and empathy between everything. I prefer the emotional approach. But yourself at the service and as a bridge of something common is fundamental. Experimentation comes by itself.
3. How do you view the relationship between your films and the audience, and what techniques do you use to create an immersive experience?
RC: I want my films to bring out unexpected emotions in people.
GT : Yes, as Raphael says, the close emotional bond with the public is the most intimate thing you can achieve. In that direction we like to use all possible tools, the soundtrack for example, although sometimes the silence accompanying a scene makes it memorable.
4. Can you provide insight into your creative process, from the initial idea to the final product?
RC: All instinct and then study.
GT: Never have to follow pre-established directions. Each one can have their secret formula as long as extreme quality and results are achieved. They should not be shared. Deaf ears to how others do and more attentive to oneself.
5. What obstacles have you encountered as a filmmaker, and how have you overcome them?
RC: Many and all.
GT: The resources and money to make art films. Governments and institutions allocate almost
nothing to art and experimental cinema. They do not know that it is the hotbed of non canned culture. We still haven ́t quite figured it out. It ́s a hero ́s walk.
6. How do you balance the technical aspects of filmmaking with artistic expression in your
RC: Working with people who understand the technical aspect so I have the freedom to direct as an artist.
GT: We live in a time where technology mixed with knowledge help a lot. Artistic expression is the stamp in itself, it speaks of one ́s own individuality. I could not humbly do anything without my point of view. I am how I look and act accordingly.
7. What guidance would you offer to those seeking to enter the world of filmmaking?
RC: Stay passionate and true to your vision.
GT: If you are not willing to give your whole self to your team and be detail obsessed and if doubt yourself, don ́t even try!
8. How do you define success in your films, and what metrics do you use to measure it?
RC: When your audience gets you. That’s the best reward.
GT: Sometimes a tear shed at the right moment and always the sincere applause at the end.
9. What are some of the recurring themes or topics that you explore in your films, and what
motivates you to delve into these subjects?
RC: Art, nature, music, humanity, we want art to connect the world
GT: Themes of human nature. Virtues and sins, physical and cosmic space. Childhood, small issues and big questions. As Raphael says, always art as a vehicle.