Discover the interview with the winners of the "Best experimental" category : Carla Massolini, Director, and Jan Bormann, Director of photography for the music video "To the body".
Check the full music video "To the body":
https://drive.google.com/file/d/1s_j3nJWGFecd5Eca75DMrMcklujSMM4Y/edit
Find more of their work on Instagram:
Carla Massolini : https://www.instagram.com/carla.massolini/
Credits :
Interview and edit by Sebastian Sheath and Yannick Solandt (unsigned Berlin): https://www.youtube.com/@unsignedberlin
Do you want to be part of the Berlin Music Video Awards as well? Submit your video here: https://www.berlinmva.com/submit/ We are now taking submissions.
Check the full music video "To the body":
https://drive.google.com/file/d/1s_j3nJWGFecd5Eca75DMrMcklujSMM4Y/edit
Find more of their work on Instagram:
Carla Massolini : https://www.instagram.com/carla.massolini/
Credits :
Interview and edit by Sebastian Sheath and Yannick Solandt (unsigned Berlin): https://www.youtube.com/@unsignedberlin
Do you want to be part of the Berlin Music Video Awards as well? Submit your video here: https://www.berlinmva.com/submit/ We are now taking submissions.
Category
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MusicTranscript
00:00When the voices in your head don't stop asking you for more, to be more, to be a perfect
00:10heroine, a perfect friend, a perfect partner, how to be successful.
00:14Who are you?
00:16I'm Carla Masolini, I'm the director of The Theme to the Body.
00:21I'm from Argentina and I'm living here in Berlin since 10 years.
00:28Hi, I'm Jan, I'm the director of photography for the film To the Body.
00:33I'm from Germany, I live in Berlin, I think over 20 years now.
00:38What's the idea behind the name of the video?
00:41To the Body is because when we are dealing with H.E.T. and depression, we live in our
00:47minds, so it is like a motivational way to say you have to come back to your body and
00:57be present, to leave the mind and be present in your time, otherwise you're lost in the
01:07nest that you create in your mind.
01:09This is your journey, there is no right or wrong, now or never.
01:21There's a fairly big team around the project, there's lots of people involved.
01:25How did you go about building it?
01:27Was it people you mostly already knew?
01:30Actually, because it was not a big budget, I mean not for the budget that we had in mind,
01:38so everything that is related with cinematography was coming from Jan.
01:45He was the one that was organizing with assistant, gaffer, and he was the one that was taking
01:54care of the project with rentals and everyone.
01:57I started a year and a half before shooting the film, making the casting for the main
02:04character, and the rest was coming up.
02:09The music was fine for two guys that had worked before in Milan, so they were part of that
02:18and they loved it.
02:20And the same with the AI that we used in World of AXE, we were under the structure from then
02:25to the film after that we've made it.
02:40And thinking of the smaller budget, larger budgets, you recently worked on Netflix's
02:44The Signal, am I right?
02:45You recently worked on The Signal with Netflix, am I right?
02:48Yeah.
02:49What's the biggest difference you see in a big budget project like that versus something
02:53more small and experimental?
02:55Well, I mean if you have a kind of big budget project, you have to stuff what you have and
03:02you can add things, and for this project we were budget-wise kind of limited, so Karla
03:11came with me with her idea to create it and asked me how to do it, and I was giving my
03:17ideas, also technical-wise, trying to figure out which lenses we're going to use, which
03:23camera we're going to use and make it somehow possible in a technical budget and also in
03:31an environment of people, so just work with one camera assistant, one gaffer or one electrician,
03:40just make it possible.
03:43They were doing miracles, actually, because for the type of project that we did, the types
03:53of the logistics, we should have at least three more people in the cinematography department,
04:00and we were shooting all three hours, and he was doing all the cans with the running,
04:16I mean, he was not just the normality, he was doing a lot of job that is beyond that.
04:24When you ask yourself again and again how to fit in here, how to pretend that you are
04:36not collapsing and come back to you.
04:41Low budget means compromising and do more work.
04:46Extra work, before and after.
04:50It's a question a little bit disconnected to this video, but Jan, you worked on a project
04:54for the 30th anniversary of the war, of the Mauerfall, where you went around and did portraits
05:00of people that were involved with it.
05:02I did some research about it.
05:04How did that project change your relationship with Berlin as a city?
05:13Well, this project didn't change any relationship to Berlin with me, because I'm German, I'm
05:19grown up in Germany, I'm like kind of maybe the last generation that came to the GPR as
05:28a kid, like when I was around about 10 years old, so the Berlin Wall fall, and so I was
05:36kind of used to it.
05:37It was more surprisingly for this project, to these other people which were involved
05:42into this project, to realize that they had no idea about where the Berlin Wall, and that
05:50it was just the Berlin Wall, that there was a wall through whole Germany.
05:55A lot of people are surprised about this, I think one and a half thousand kilometers
06:01of wall came through this, but for me it was like a little bit of a journey to the
06:07past, and getting more connected with the German history, and getting more into the
06:18topics about the Second World War things, and all these things that never should happen
06:24again, so I'm feeling more responsible about telling the younger people, just telling the
06:34history.
06:35Beautiful.
06:36Just before we finish, could you describe the event, the Berlin Music Video Awards,
06:39maybe in three words?
06:40Entertaining, surprising, and very, very welcoming.
06:55Great, thank you very, very much.
06:59Thank you, thank you for letting me be here.
07:02No, of course, thank you.
07:10Thank you.