Music is the life blood of our festival, providing the vital energy that keeps the whole organism in motion. We’re excited to announce three more of the musical acts who will be performing at T/F 2015.
Making their first ever appearance at T/F is Shilpa Ray and Her Happy Hookers, a Brooklyn-based band fusing blues and punk rock behind the searing, charismatic vocals of their front woman. Below you can see a live music video for their song “Erotolepsy”.
From closer by in St. Joseph Missouri, this unusual, dreamy pop group Dreamgirl will also be making their first trip to T/F. Check out their track “Stranger Feelings” for a sample of their sound.
Returning to T/F is Anonymous Choir, the Minneapolis group which performs choral versions of popular songs. For example give a listen to their beautiful version of Neil Young’s classic album After the Gold Rush.
If you want to make music a central part of your True/False, consider picking up our $30 busker band. It gets you access to all of our concerts plus more. It works well either on its own or as a compliment to a Simple Pass.
Posted January 14, 2015
Note: We first ran this interview back in November on the occasion of Actress’s New York Theatrical premiere. We’re sharing it again as Actress is now returning to Columbia at Ragtag Cinema for three days only, January 19-21. Director Robert Greene, the new filmmaker-in-chief at MU’s Murray Center for Documentary Journalism, will be in attendance for Q and As at all three screenings. Don’t miss it.
Brandy Burre scored a career breakthrough when she landed the part of political fixer Theresa D’Agostino on the monumental HBO series The Wire. Prior to filming her character’s second season, she became pregnant with her first child. Eventually she decided to retire from acting to raise two children with her partner, the restaurateur Tim Reinke. Years later, feeling the need for a creative outlet, Brandy decided to return to acting. Documentarian Robert Greene, her next-door neighbor in Beacon, NY, began following this unpredictable process with his camera. Their unique collaboration eventually yielded Actress (T/F 2014), an innovative and unsettling blend of vérité intimacy and soaring melodrama.
Actress is now playing theaters nationwide via Cinema Guild. Last week I got the chance to talk with Brandy via Skype about playing herself on and off camera.
T/F: Could we start by going back to where the film started? How did you guys begin this project?
BB: Robert approached me about the project months before we actually started filming – maybe even a year. He was very delicate in the way he would bring it up, almost giving me a little bait, to see if I was interested. I think originally Robert had the idea of watching three actresses in different stages of their lives. He has a friend who is younger and in independent films right now. He was thinking, I could follow her experience, you, who has children and is now getting back into it, and an older actress at the end of her career. That was the original thought. Once we started filming, he realized he could have an entire movie with me as a single character.
I never had any idea of what the film would be. Robert did. He as a filmmaker had to have ideas of narrative that he thought would make the movie. I was in a way just being his muse. It was my goal just to be as truthful as possible on screen. That was for me the exercise as an artist. I thought I should just take advantage of having someone who wants to put a camera in front of me, and get used to it, and see how it makes me feel and how hard it is. That alone was so daring and risky that it was enough. I didn’t have time to put on anything else.
T/F: Robert has written about nonfiction performance. In his “art of nonfiction” video essay for Sight and Sound he called it “the layering of the real and the imagined selves.” I think you can see Actress in part as an attempt to make this dynamic explicit. Did he introduce any of this up front?
BB: No, I don’t think so. I really didn’t know any of Robert’s writings. Whenever he’d come over it was about the collaboration of the moment, him coming over and filming. He would talk about ideas, but it didn’t really affect what I was doing. In fact, I didn’t really want to know, because it didn’t help me with my objective of being truthful.
But I agree with those things outside of the filming. As an actor I’m so aware of the roles that we play in life. I’m amazed at how well people play roles in their daily lives. As an actor I think I’m hyper-aware of the body/mind connect, and I think, ‘Wow, they really wear that suit and play that role of business man — or mom — really well.’ I’ve always been fascinated by stripping that down because it’s never been easy for me, to play the role of ‘myself.’ I guess that’s the hardest thing to do.
T/F: The film uses highly composed and stylized segments interludes. What was the process like for making those?
BB: Yeah, the red dress that you see in the trailer and the stills was shot in one day when Sean Price Williams, a friend of Robert’s came to shoot as a birthday present to Robert. I had never met him before, and it was the first time we had another person involved. Partly, it was because we were doing a shower scene. At some point I said you need to film me in the shower. It may sound peculiar that I was suggesting it. But at the same time, that’s what being a mother is. The only precious time I have is that time. Also, the roles I’ve played in theater and television are mostly sexy roles, and my body is part of why I get hired. And for me just to be myself, I wanted to take that back and say, “film me being me.” And because we were doing that I think Robert wanted an extra person there, to make it professional.
The slow-motion camera helped make it feel stylized. We didn’t talk at all, “let’s make this stagey.” Robert didn’t come up with the red dress. I only have a handful of dresses in my closet, so that’s just what happened when he asked me to put on something nice. I think I said “this one’s kind of caricature-y.”
And my house is just like that. I never staged the house. Everything is how it is right now. Robert would direct the shot by suggesting, “take that glass” or “let’s work at the sink.” But, no big concepts. Just capturing footage.
I had brought up that quote from The Wire about me breaking things, so he said let’s take that and see if it leads anywhere. We didn’t know.
Another important scene, when I go around the kitchen, was done in one shot. The only direction was “just to walk around the kitchen and see where it takes you.” It was never set up. So I went in, something was cooking on the stove. Then I went into the backroom, and Wall-E was playing on the TV because my kids were watching it. Then my daughter comes down the stairs and hands me the hanger. No, none of this was staged. I think having slow-motion camera and time to play allowed us to capture the images that grounded the film. After that day, I think a lot of what Robert had in mind for the film changed.
T/F: How far along in the process was that day?
BB: We were filming so sporadically at the beginning, honestly I never thought this would be a film. I’d say five months in maybe?
Robert had his day jobs and was trying to pay the bills. I was a stay-at-home mom also trying to figure out things, so we just did it when we could, and we didn’t know what we were looking for, so it really took a long time. Correction. Robert knew what he was looking for, but I wasn’t auditioning, so it just took a while to get going.
T/F: There’s one moment pretty late in the film that really fascinates me. It’s during one of the two intense, intimate speeches you are delivering to the camera. You are interrupted by a noise from off screen. Do you remember what I’m talking about?
BB: I do, I do, the pellet stove?
T/F: Yeah, could you tell me about that moment?
BB: Ok, so this is what’s fascinating to me about Robert’s film. I say that this is Robert’s film, and people say, “Oh no, you have to take credit for it.” And of course I take credit for it because it’s my life through Robert’s lens. But, in that moment , specifically, he’s exploiting documentary filmmaking.
The moment that you’re speaking of, I was in the middle of a very intimate confession when my heating stove breaks the scene. I say “ugh, damn pellet stove,” and I was very emotional because I was trying to be composed. I was holding because Robert used to “yell at me” if I would break “character” or be like “oh, I’m sorry, should we do that again?” because I was so aware of being filmed. He’d say “just keep going.” So in that moment, the trained actor in me was pausing because I didn’t want to lose the momentum and ruin that scene for Robert. So I was just waiting for the pellet stove to go, and then I was going to try to keep telling my story, thinking that that very moment would absolutely be cut out of the film. So I was simply holding as a good documentary subject. But he kept it in the movie!
What he loves about that moment is that I actually become the first layer of myself, because as I’m holding, I drop the composed mask and get really emotional. The shooting of this scene was the first time I had said, “Robert, you need to come over here, I have something to tell you.” He came over, and I said, “Can you turn on the camera?” And I started talking. He was crying during the scene, I saw his eyes. Again, never knowing if we were going to use any of the footage because it was very hard for him to shoot as I’m telling him very personally about what just happened in my relationship.
But keeping it in is that layering of layer of layer. Documentary films usually don’t do that.
T/F: That story, do you think it would be a lot different if the camera wasn’t there? If you were just telling it to Robert as a friend? To me, that moment when you get knocked out of the story, it hadn’t felt particularly performed leading up to that, but when it happened I was like, “Whoa, wait, was she performing?”
BB: Yeah, but I think if someone asked you “tell me your story?” and put a microphone in front of you, it would be completely different than if a buddy was sitting with a beer and said, “tell me your story.” I think that’s human nature. I think I was choosing my words better because I needed to be clearer, where if I was telling my friend I could interrupt myself and backtrack more. And then that thing messed it up, and I felt like a failure. So in that sense was it performed? I guess.
It’s like when you’re introduced to someone new, how you put on that, “Oh, hi!” I mean, I was so vulnerable, but in my mind, I just wanted to tell the truth by trying to carefully reconstruct what I was confessing. But then when the noise from the stove came I had a moment to actually breathe and suddenly the pain of the situation came rushing in.
T/F: You mentioned earlier that people are telling you to own the film. Do you see it as part of your body of work as an actress?
BB: I’m so proud of it and feel it just blows the doors off everything I have done thus far. I do feel like it is part of my work as an actress, but more as an artist. I think I became an actor because I’m good at it, but I also love music and creative thinking.
Now, when I’m reading scripts, I think, “this is so much work.” (laughs) I have to audition, and how long will the shoot be? All that money and talk about budgets and locations and rights to things. I think, “Let’s just turn on the camera and live.” (laughs) And apparently that’s really daring.
Apparently it’s really daring to be truthful. People say, “You’re so brave!” And I say, “Oh really?” It’s a testament to our ideas about society and civility; I think it’s repressive. I don’t think it’s that brave, I just used it as an exercise of being truthful and sitting in it. Sitting in my own being.
So many people are in relationships. And relationships are hard, and 65% of marriages end in divorce. But where is all that talk? No one talks about it. I couldn’t believe no one talks about being a mother and trying to have a job. How does that work? Our society doesn’t make it convenient.
So yeah, if I do The Wire and now Actress, and this is my body of work, I can only imagine what’s next.
T/F: Could you talk about your decision to travel with the film and attend True/False and other festivals?
BB: I felt it was the only way to not feel that I was completely exploited. I never asked many questions about the logistics of things. I never signed a release form until the film was done. And that was because when Robert first approached me, he was very concerned it could have ended any friendship we could have had because of the intimacy.
T/F: So he suggested that you wait until the end to sign a release?
BB: Yeah, It was like “I’ll just keep filming, and you can always pull the plug.” I don’t know if it was sly … (laughs) It’s Robert’s way, maybe a little guile. “You always have the say to pull the plug,” which emboldened me to be braver and put it all out there. Even if I signed something at the beginning, he was never going to put it out there if I said “I hate you and I hate your film. How dare you exploit me?”
So, traveling with the film . . . I think that came out of seeing it. When I saw the film in Robert’s editing room, twenty feet from my window, I was able to disassociate myself from all of the shooting and the emotions and see how beautiful it was. And I knew my heart was in it.
So, I want to meet everybody. This is my calling card. Why would I sit back? I’ve met so many people. And the festivals have all said yes, where they don’t always bring the subject, it’s not a given. So I am grateful for the experience.
I’m not afraid of the judgement. I kind of like it. I certainly like being provocative if it’s to get people talking.
Posted January 10, 2015
2015 has arrived and with the new year T/F is ready to begin exploring a new idea, “The Long Now”!
This Thursday, January 8 is the opening reception for the new “The Long Now” art exhibit, featuring 14 works exploring our relationship with time selected through a jury process in partnership with Imago Gallery and Cultural Center. Imago will be hosting the show at their gallery at 1020 E. Broadway in downtown CoMo, also the future home of the T/F 2015 box office. At 7 pm Thursday, T/F’s Art Installation Coordinator and all-around production guru Camellia Cosgray will give a talk introducing the show. Refreshments will be provided.
The selected pieces are:
“Aquatic Dance” by Lampo Leong
“The Light” by Li Lin
“Window on the World” by Amy Meyer
“Icosahedron on Blue Plane” by Clint McMillen
“Avoidable collision nearing from behind.” by Ian Shelly
“Cernunnos Arabeque” by Madeleine LeMieux
“Pastpresentfuture” by Yourself
“Sketch of Scarlatti Sonata K34 (as Argo Navis)” by Kerry Hirth
“Expansion Loop with Flare” by Matt Moyer
“The” “Long” “Now” by Gabe Meyer
“Response Time” by Scott McMahon and Ahmed Salvador
“Epiphany” by Shannon Soldner
“St. Mary’s Flood Album – page 44? by Scott Patrick Myers
“Breath” by Natalie Shelly
10% of all sales will go towards the 2015 True Life Fund. Please come consider The Long Now with us.
Posted January 5, 2015
Note: the Gimme Truth submission deadline has now been extended to Friday, February 27!
We are now accepting submissions for Gimme Truth! In our annual game show contestants present their 2-minute films to a panel of celebrity judges who’ll have to determine if they are 100% True or 100% False. And new for 2015, we’ve waived the submission fee. That’s right, you can now submit for free. You can win Ragtag Membership, CAT-TV Membership, Pond5 gift certificate, a Vimeo Pro account, Sunday brunch/lunch with a filmmaker and passes to T/F 2016.
You can download the submission form here. Films are due by Friday, February 20, 2015 at 5 pm.
Posted December 26, 2014
Neither/Nor is an open-ended project exploring and discovering the history of “chimeric” cinema, our term for films which defy categorization as either nonfiction or fiction. For the past two years we’ve collaborated with a visiting film critic who selects and introduces a series of screenings covering a particular important time and place in cinematic history. This undertaking is made possible by generous support from the Academy of Motion Picture Arts and Sciences.
In addition to presenting the films, visiting critics create an original monograph featuring essays or interviews exploring the works they selected. Now, we’ve made both the 2013 and 2014 monographs available to read online in a digital pdf version you can find linked below.
In the 2013 Monograph, New York City, 1967-1968, critic Eric Hynes approaches the creative and political ferment surrounding William Greaves’ meta-film Symbiopsychotaxiplasm, the Jean-Luc Godard, Richard Leacock, D.A. Pennebaker collaboration 1 P.M., Peter Whitehead’s The Fall and Jim McBride’s prescient David Holzman’s Diary. The monograph features a short essay and interview for each film.
In the 2014 Monograph, Iran, 1990-1998, Godfrey Cheshire weaves a consideration of major works into a larger essay exploring Iran’s unique and complex relationship with the cinema. The films studied are Abbas Kiarostami’s Close-Up, Mohsen Makhmalbah’s A Moment of Innocence, Jafar Panahi’s The Mirror and Samira Makhmalbah’s The Apple.
Neither/Nor returns as part of the 2015 festival where we’ll explore revolutionary, formally groundbreaking work from a former communist state.
Posted December 22, 2014
Music plays an essential role at T/F. Our buskers perform before each and every screening, at 15 music showcases and throughout the streets and sidewalks of downtown Como, cordoning off the experiential space in which the Fest exists. We’re excited to make out first announcement of just a handful of the acts that will be transforming our town March 5-8.
Strangled Darlings, a self-described Americana Doom Pop duo featuring cello and mandolin, will be making their first trip to CoMo from their home base of Portland, Oregon. Check out their music video “Snake and the Girl.”
Returning to T/F is the Raya Brass Band, a five-man group hailing from Brooklyn who draw from the sounds of both the Balkans and New Orleans. You can catch them performing in the video link below.
Also joining us for their first T/F are El-Haru Kuroi, an East Los Angeles trio with roots in Mexican, South American and African melodies and rhythms. Below you’ll find them playing their song “Sin Saber.”
If you want to make music the central part of your T/F 2015, consider picking up our Busker Band, which allows access to all of our showcases plus more. It makes sense on its own or as a compliment to a Simple Pass. Find out more here.
Posted December 15, 2014
Learn all about the many ways you can help create True/False 2015 at the first ever How to True/False: Volunteer Edition. This event will be held on this Tuesday, December 9 at 7 PM in Leadership Auditorium at the MU Student Center. You can come early for treats and music by Dubb Nubb. Will also be giving away T/F merch!
Posted December 4, 2014
Know a Columbia high school student interested in independent film, documentary, innovative storytelling, journalism, art, music or community-building? Tell them to apply to the True/False Boot Camp!
The Boot Camp will introduce a select group of students to the world of True/False and provides a crash course in independent contemporary culture during the weekend of the Fest (March 4-8, 2015). It is completely free and open to all CPS high school students, regardless of background or experience. Students can focus on art, music, film, journalism or storytelling. Based on this choice, True/False will craft an amazing and intensive weekend full of inspiring films, events and meetings with a diverse crew of filmmakers, artists and musicians.
Check out the application here.
You’ll need to act soon. Applications are due Wednesday, December 10.
For more info contact your high school’s T/F advocate:
Hickman HS: Brett Kirkpatrick, BKirkpatrick@cpsk12.org
Rock Bridge HS: David Bones, DBones@cpsk12.org
Battle HS: Daniel Gammon, DGammon@cpsk12.org
Douglass HS: Austin Miller, AUMiller@cpsk12.org
Or contact the T/F Education Director, Polina Malikin: email@example.com
Posted December 2, 2014
As we round the bend into 2015, we’re still looking for proposals exploring our new theme, “The Long Now”.
First, True/False is partnering with Imago Gallery & Cultural Center for a “The Long Now” juried exhibit to run January 6 – 30. We are looking for both 2D and 3D work, but you’ll need to act soon; the submission deadline is coming up on December 1. You can find all of the submission guidelines here. 10% of sales made during this exhibit will go to the True Life Fund, our annual fundraiser to benefit the subjects of a new nonfiction film.
Also, we’re looking for T-Shirt design proposals for the 2015 Fest. Find all of the details here. You’ll have a little longer as proposals are due January 6, 2015, but don’t wait too long. The new year will be here before you know it.
This enigmatic expression is yours to interpret, but here are a few prompts about what “The Long Now” could mean:
- How do you tell time without a clock?
- Time is on our side.
- How do you communicate with people 10,000 years in the future? 10,000 years in the past?
- The pyramids are to today, as _____ is to tomorrow.
- All documentaries are historical documentaries.
- What is the future of the timepiece?
- The number 12.
- Retrofuturism. Where is my flying car?
- A stitch in time saves nine.
- Geologic time v homo sapien time
- Time and tide will wait for no man.
Posted November 17, 2014
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Documenting something as nebulous as a revolution is a difficult challenge for a filmmaker. In Cairo Drive (T/F 2014) Sherief Elkatsha takes an unusual and startlingly effective approach. Riding shotgun and talking traffic with motorists on Cairo’s congested streets, he captures a fascinating mosaic of the frustrations and ambitions of a city on the edge. The film spans the critical period of 2009-2011, providing a window into the fall of Mobarak and the beginning of Egypt’s uncertain future.
Cairo Drive makes its New York premiere tomorrow as part of DOC NYC. A few months back I got to speak with director Sherief Elkatsha about his insightful and frequently hilarious film.
T/F: Could you start by telling me about how the project began?
SE: Sure. I started making this film in 2009. I was in between Cairo and New York, and every time I came back to Cairo things were getting a little tenser. A good litmus test for where the city was at was the driving. I thought I was going to witness a boiling point of sorts. I had no idea of course that in 2011 what did happen would happen. But I just thought that the easiest way to address all sorts of different issues was through the driving, because that’s sort of everyone’s story. Knowing that I wanted to get into deeper issues, it was very non-threatening and non-political to say “let’s just talk about the traffic.”
In 2011 I was already deep into editing two years of footage, and I thought I was done filming. And then of course the news happened and the goal was to be on the first plane to Cairo to continue filming.
T/F: It’s really cool how traffic let’s you talk about fundamental issues of social cooperation and tension, but in a very concrete, down-to-Earth, unpretentious way.
SE: It was really difficult to film in Cairo. People are generally a little bit paranoid. And they always assume that what you’re filming is to make them look bad outside of Egypt. But when I came to them with the subject of driving, because they felt it was something they all had an opinion about, that they were all experts.
What I liked most is that it sort of crossed through all class structure. In Egypt a lot of people are very poor and there are a few affluent people, but in traffic everyone is sort of the same. Whether you’re riding a donkey cart or in a Mercedes sedan, we’re all stuck at the same traffic light. You can’t really live in a bubble in Cairo.
T/F: I love the section early on where the guy sort of introduces the traffic horns as a proto-language.
SE: If I knew then what I know now … people seem to love that bit, and of course it’s hilarious. He went on and on, I should have put more of it into the film.
The language of horns is certainly something that exists. I was unaware to what extent and how specific you could be with your horn. That it wasn’t just “piss off” but instead actively criticizing how someone is driving, just with your horn. And the same is true for lights, but I couldn’t get into that in an hour-and-a-half film. There is all sorts of language with flicking high beams and low beams and what this means and that means.
T/F: So I’ve been asking people this question which is kind of broad, and leaving it open to interpretation. What’s true/false about your film?
SE: Well, certainly my film walks the line between being vérité and non vérité. Let’s be honest, anytime you have a camera around there’s going to be an element of falseness to it. People react to being filmed, and this is sort of a natural thing. And then of course we edit the hell out of movies, so that’s an element of falseness.
And I’d like to think what’s true/false about it is also that most of the films at True/False have a level of integrity that isn’t mainstream. I’d like to think that my film fits into that.
T/F: The magic with this sort of movie is how all of the parts fit together to build a whole. When did you know you had enough to make a film? I mean, you said you thought you had enough before the revolution in 2011?
SE: Let me take it back. I never thought I had enough; I still don’t think I have enough. The nature of the film is such that I felt like I was making a wildlife documentary. You’re always missing something and there’s always something that could be filmed better. That’s the problem with a documentary. You think, you have an idea, and you go out and shoot it, but then you think, I could reshoot that.
So I put a constraint on myself and said it was going to be two years of shooting, or it was going to be one more year. Each year sort of got longer.
When I started the editing process I told people I wanted a film as populated as the city, and everyone told me “you shouldn’t do that. This is not the way to make a movie.” And I just didn’t want to focus on any one story. And so I would say, editing was really important in my film. In order to keep the story moving and to keep us maybe not caring too much about any one character and instead caring about this sort of carnival ride that they’re all on. That was the goal.
I could still keep filming. There’s stuff that’s happening now with respect to the traffic, it’s endless. But once we had our second election I said “Okay, we’re done. I have over 200 hours of footage. I’ll have to pick and choose from that.”
T/F: That’s interesting. The story is about the place, and the bits of story we get from the people have to serve that. So there’s this danger of someone stealing the show?
SE: Yeah, it’s true. Also, any character I did show I wanted to stand for something bigger. So even though certain characters were great — and having done a few festivals I see which characters stick with people — it’s not just about that individual story. I wanted it to be bigger stories that deal with bigger issues, whether it’s women’s rights, or men getting married in Cairo, which is a huge issue for us.
As we come into the revolution, I wanted a few more voices that exemplified the kind of person that went out into the street to become an activist.
T/F: Do you have an example in mind for some person that really stands for something?
SE: For example, some people have asked “why did you have the ambulance drivers?” There’s this whole scene in between calls where all these ambulance drivers are sort of sitting around shooting the shit, which was again very vérité. I was just sitting there with my camera, probably cleaning it, and they started talking about how this one kid wanted to get married. This to me is huge because I know 50% of the population is under the age of 35 and a huge issue is getting married, being able to afford marriage. Because you have to have an apartment, because you have to have a dowry, etc. So suddenly this scene is unfolding where this issue of so many of the youth in Cairo is coming up, and it just so happens because it’s ambulance drivers shooting the shit. He wanted to get married and the woman turned him down because he was a driver and she wanted him to have a better job. He has an apartment and a job, but he can’t get married.
A year later we find out he does get married. This is after the revolution has happened. And I’m sort of shocked, “You got married and had twins in just over a year?” And he said “Yeah, look what happened to the country. It happened overnight.” It was sort of a small moment but it was indicative of life going on despite the historic events.
T/F: Was it difficult in editing to reconcile the structure of the film with the flow of political developments in Egypt?
SE: Yeah, anything is always a challenge because you lose perspective very quickly as to what is interesting. At the end I had a 72 minute cut, and I crowd funded to hire an editor I had worked with before named Pierre Haberer. He came for Paris and lived in my apartment here. In those final 6 weeks he gave me the objectivity I was lacking to keep the story moving. Also, giving the right details and not the wrong details that are going to confuse an audience.
Also, a lot of the material is very funny, but at the same time the subject that I am dealing with is not all shits and giggles. Anyone who has spent time in Cairo certainly knows people that have lost their lives on the road. So I wanted to give it the gravity that I thought it deserves. Some people just thought I should make the whole thing a comedy, but at some point it stops being funny and just becomes “What the fuck?” There is a turning point, and I think it worked out well putting it just before the revolution happens.
I do have a character in 2010 basically predicting the revolution. You know, “something bad is going to happen, could be in the next 3 to 5 years.” And I sort of push him “What are you talking about?” And he says “If Mobarak passes away tomorrow, this country’s going to go into a lot of trouble until someone strong tries to fix it.”
T/F: Yeah, that was very striking.
SE: Yeah, and again we didn’t want to put dates and we didn’t want everything to be explained, we just wanted it to be this is what it is.
T/F: Do you have any personal experiences driving in Cairo that informed the movie?
SE: Well, I learned to drive in Cairo and it’s kind of the only place where I really do drive. When I come here in the US I have a hard time with street signs and reading and exits. But in Cairo I feel really at home, where it’s kind of like the character in my film says “If you see space, occupy it.” It’s more interactive in a way.
I think there’s something about Cairo where you never assume anything, you never assume a green light. So you are always on edge expecting that someone will jump out from a car in front of your car. I think that makes us better drivers in the actual urban setting, where you are ready for anything. Anything could happen, and it usually does.
Posted November 14, 2014
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