The spotlight arthouse/indie circuit is lately on Greek Cinema. What happened and why do you think it is in vogue right now after the death of Greek master of cinema, Theo Angelopoulos and during the turbulent economic/financial times? Do you think this has to something to do with it? New talents are constantly emerging, what´s boosting this sudden expansion as there are wide budgetary restraints everywhere nowadays?

Well, recent history shows that nations that faced social and economic crisis have seen a boost in their cinematography’s like Argentina and Romania. So it has absolutely to do with it. In the years of well being we tend not to look around us and to be quite selfish. I think what is boosting this sudden expansion is the sense of urgency that all artists have in their minds and souls during such periods. You want to say something and there is no reason to wait. This is why the budgetary restraints hasn’t affected our cinematic production. Films are being made whit the minimum of budgets- sometimes with no budgets- and all people involved want to do it, want to be part of it. It is a beautiful thing although not at all viable so I don’t I think it will last for much more. This is not a pessimistic point of view – I want to believe- we just have to try and bring funds to our films from abroad now that the eyes of the world are on our directors.

Some journalists went even so far that they have dubbed this cinematic phenomenon ,,Greek Weird Wave,” although we prefer to call it Greek New Wave, which is kind of similar to what is happening also in Romanian Cinema. Is there a weird wave, or any other wave as Greek filmmakers tend to denounce it publicly and they are denying existence of any cinematic movement within Greek borders lately. How is it then in your opinion?

I think that it is logical for people outside Greece to observe this phenomenon and try to name it somehow. My opinion is that we are a small cinematic society so it is very easy to talk and influence each other.

Do you think Spartan conditions are intellectually stimulating for Greek filmmakers? Yorgos Lanthimos, one of the prominent helmers in Greek New Wave said that he prefers to make his next film outside Greece due to inconvenient conditions.

I believe I answered this question already. The answer is yes for me and as I said it is not something that can last for much long. For Yorgos I can say that I understand what he says, it is very logical for someone to try and improve his professional life. This is what all people want.

You are the producer of Wasted Youth, also a film adhering to New Greek Wave which is slightly different from those of Tsangari, Lanthimos, Makridis, Filippou. Although the rupture between old and new generation is the central theme similarly to Dogtooth, Attenberg… Nevertheless, the directors Papadimitropoulos and Vogel displayed a great will or interest in experimenting and formalistic approach. Is this significant for new Greek films? Or the central theme about the clash of generations and maybe social classes? What is the most appealing thing for you about Wasted Youth?

The most appealing thing for me is the whole process of doing – which was extremely fast- plus the fact that we commented on a real fact that was “hot” and thus difficult and dangerous for someone to deal with in a way that it is talking for the “bigger” image of Greece. I have to say that I am really proud of it.

What is the most interesting thing about Wasted Youth generally speaking?

I would prefer not answer this question. We should better ask a spectator.

There are few references or wink to Gus van Sant in Wasted Youth. What other figures were important for this film? Do you think there is a need for this kind of figures? Even the abovementioned films have certain model they refer to…in case of Attenberg, it´s Richard Attenborough obviously, another Tsangari´s film, Slow Business of Going is quoting and paraphrasing Samuel Beckett… Is this the fundament from which the new talents are emerging…a certain bridge from old generation to new?

I believe in references, this is the way art is moving forward. It is healthy and human. Take something as a starting point and try to move it further.

Your late project is getting raving reactions on the festival circuit. We are talking, of course, about Boy Eating the Bird´s Food. Could you describe us a little the development process of this intriguing film. From where/who the idea comes, was there any heavy rewritings of the initial script during the production, is there any difference between the script and the final cut of the film…?

The idea came to Ektoras after reading Knout Hamsun’s Hunger he wrote some drafts and he came to us. I think there was 12 drafts totally thought out the development. Ektoras has a unique way of working both on his scripts and with his actors. I loved the whole process and can’t wait to start developing a new project with him.

Film critics are citing Robert Bresson as the first or the biggest influence. On the contrary, I saw there a sort of Dardennesque poetics (namely the photography and camera movement, but also the main protagonist). The main character reminds me of another character, Lorna, from Lorna´s Silence (Jean-Pierre and Luc Dardenne; Le silence de Lorna, 2008). Is this one of the influences? Or is there any?

Absolutely although this project as many other have their budget limitations incorporated in the way the whole film is being done. I mean the resources you have in your hands lead you to choices shape the aesthetics of your film. The point is to be sincere and unique and I think Ektoras has both of those elements in his work.

Boy Eating the Bird´s Food is not only intriguing, but also a cryptic or better to say, ambivalent, film. It is social realism, but also an allegory or parable. Significant minimalistic style and approach is constantly generating new hypothesis. In my opinion, it is also a lyric film poem. Could you provide some (maybe overlooked) insight?

I´d rather not. I could talk for hours but I prefer not to give any explanations or insights. I can only say that all the layers were beautifully created and placed by Ektoras.

You will be manning the production of the feature film directed by Argyris Papadimitropoulos, A Hungry Mouth. In which phase is this project currently? When is the premiere planned? Could you provide any details about this project?

The film is planned for shooting October 2013 and the release will happen late 2014. We are currently in the financing stage. It is going to be a greek-german coproduction and we are very excited with the script we have in our hands. I hope we are going to make a beautiful genre film completely different from all the greek films you have seen the last years, a film that will establish Argyris as a unique and diverse directing talent.

The synopsis sounds like something in which Efthymis Filippou or Yorgos Lanthimos could be involved in. But neither of them is. (Psychological thriller starring a 26-year-old lawschool student, who moonlights as a dog trainer. The young man infiltrates the life of an affluentupper crust couple, a 55-year-old law school professor and his 45-year-old wife, who he forces to face their empty lives by using basic dog training principles.) Will we witness a deadpan and offbeat comedy drama? The story comes from Lena Divani, the script was penned by Nikos Panayotopoulos. Could you tell us something about the book? Maybe how different will the film be, or is it a direct adaptation? What is the difference between Divani and Panayotopoulos?

No deadpan at all. If you want to have a reference I would say we want it be a Haneke style film. The book was a best seller in Greece in 2011 and the story is so unique that we couldn’t resist from picking it up. Actually Nicos brought it us saying this is what we shall do next. We have been working with Nicos and Argyris a big English project – an adaptation as well- but when Hungry Mouth came up we said “that’s it, let’s do it”. The film is going to be a quite “loyal” adaptation of the novel although lots of ideas are thrown in the script in order to intrigue the audience and enlighten the characters. I think Nikos did an excellent job with the book, he was the right person for this script with no doubt.

Why does this project appeal to you?

It is different from all the films I have done so far and bigger in terms of numbers. It is the right film to make me a better producer and the right film for Agryris at this point. So it has everything it should have in order to make me go after it.

What are you planning next? Any new projects in sight?

I am finishing right now a beautiful film named The Eternal Return of Antonis P, the debut of the writer director Elina Psikou. It is the film that won the Karlovy Vary works in progress award last summer and we are ready to launch it in festivals early 2013. Really unique piece of art.

Besides Hungry Mouth I am preparing Nikos Grammatikos new feature named Oasis a documentary with Elina and I think we have chosen what will be Ektoras new project. Finally I have the English project I wrote before with Argyris that is aimed right after Hungry Mouth. Quite a lot I would say.

Last question. Will the New Greek Wave grow in numbers in the nearby future? Any other emerging talents joining or maybe redefining the national cinema? What is your prognosis of the future of Greek cinema?

We are moving forward. There many directors and producers that will make a difference in the near future, please keep an eye on Greece. We are here to stay. At least this is the way I want to think about it cause it helps me waking up every morning.

Thank you for the interview.

Cheers!

Martin Kudláč