The political/economical spotlight is on Greece for some time now. Does this help or inhibit the works of filmmakers? Some of the Greek filmmakers have said that it kind of helped him, another prefer to make films outside Greek borders. Which opinion do you prefer?

Well, I can’t say. I only know that the country I live in is my basic inspiration: its way of life, its problems, its people, my memories, my everyday life here. I can’t imagine right now living and working permanently abroad. Though here everything is so tough, even discouraging sometimes, it still is my environment and the source of the main things I want to talk about or express. Maybe in some years I’ll have the need or an opportunity to work and make films abroad, but now it’s totally out of my mind.

Despite the rather unflattering conditions, the Greek national cinema is blooming. The international phenomenon called New Greek Cinema has risen. Why are new talents emerging right now? What does fuel the filmmakers to come up with new, challenging, uncompromising and thought-provoking films?

Even before the crisis, this last generation of greek filmmakers seemed to be a very interesting one: people with better film education than previous generations, people with personal voices and sincere passion for cinema. And given that this exact situation of general crisis force people (not only filmmakers) to re-evaluate their whole life and beliefs, it was inevitable that new, genuine greek films would emerge. Because not only economy but all the institutions are in crisis. Things have to be done again in new ways. And each one of us tries to find his own way.

Your feature debut, Boy Eating the Bird´s Food, is an interesting piece of cinema. Where does the idea come from? Why did you choose to make film about this theme?

I guess, the idea of the film is a reflection of my own fears, starting to feel kind of useless living in a society that doesn’t pay for art and artists. The idea was already in my mind but got even more concrete after reading Knut Hamsun’s Hunger, which was one of my main inspirations.

Were there other possible stories in the mix? Or you knew that you have to do Boy Eating the Bird´s Food?

Actually, I was working on a Henry James’ novella adaptation, but as soon as the idea of Boy Eating came to my mind, it was kind of natural and urgent for me to do it.

Boy Eating the Bird´s Food is astonishing due to its ambivalence. On one hand, it is a fine piece of realism shot in authentic streets of Athens, you have mentioned several times that you were inspired by Bresson. I sensed a bit of poetic neorealism in the style of Dardenne brothers, but that could only my private feeling about the film. On the other, there is a great deal of rather allegorical nature. It´s realist and poetic at the same time. And this ambivalence is really intriguing. Why did you choose this style?

I like films with a strong, solid realistic base. I like realistic details, I like films happening here and now. That’s what I primarily worked in this film. Trying to tell a believable story. If certain element of “poetry” came out, that was not really in purpose. I mean, you can’t go directly for poetry. You are lucky if a certain kind of metaphysical aspect emerges even from a very pejorative milieu.

The film is also very lyrical, kind of cinematic poem. The narrative structure is very interesting. It is set in three days with several of the activities repeating, several progressing and few of them atrophying. How did you conceive this structure? What was the development like? What was the screenwriting process like?

Yes, that’s true. I based the script on some routines, repetitions and lite-motifs. I think that was the way I tried to develop the relationship of the Boy with the bird, the Girl and the Old Man. In the first drafts of the the story, there were some other subplots too, but soon it became apparent that I should keep only the necessary ones.

There are several cryptic scenes. The used minimalistic style makes the viewing experience even more absorbing similarly to Makridis´s film L. Most of the critics and viewers were concerned by the protagonist, emasculated protagonist trying to preserve last pieces of dignity, but nobody has mentioned the bird. It is not only a plot-device, but I believe it stands also for a symbol of hope. Am I correct?

Yes. The bird, except for an alter-ego of the character, it is also the catalyst for him to stand on his own feet and take his resposibilities. And in my mind, when at the end he “saves” the bird, he is in a way saving a part of his own self… (Always, with the fear that I explain too much!)

The minimalism. Great thing. I guess you are a fan of Samuel Beckett (and Jarry as well). Several filmmakers from Greek New Wave are influenced by writings of Beckett. How come? Why is Beckett so appealing to you? Why not Ionesco for example?

Hm… I find Beckett more appealing in the sense that he is more condensed. Fewer devices with stronger results. I like in Beckett these strong concepts. “Woman buried up to her breasts on the top of a hill”… So eloquative!

The Greek filmmakers seem to be attracted to writers from the movement of the Theatre o Absurd. I see several parallels not only in Beckett´s and Ionesco´s play but also at Jean Genet ones. Why? Does it have something to do with current political/economical state of Greece? (The Theatre of Absurd has risen in the wake of the event of World War II).

I don’t really know. I guess times of crisis demand -even more pressurely- new forms. New ways to talk about institutions and values that collapse.

What about next project (screenwriting/producing/developing)? Are you gathering new ideas? What would you like to do next? Would stay with film or are you planning to return to the theatre for a while?

I think it is too early for me for a new film. Yeah, I’m back in theatre. Actually, I never left it. I even worked on theatre last year when I was doing Boy Eating. Now, I’m working on ancient greek tragedy. The Bacchae by Euripides.

There has been a lot of discussion about Video-on-Demand (VOD) platform. Do you think this is the future of cinema?

I hope that cinema in the form of going to a theatre to watch a film will never extinguish. It demands a certain concentration from the audience that you cannot have in a small screen.

What about crowd-funding? Would you ever consider a crowd-funding for your project?

I haven’t actually thought about it. But I have supported some projects of my friends.

Thanks for the interview.

Thank you for the great questions!

Martin Kudláč