The lovely Italian writer and photographer Chiara Barzini visited Brooklyn this past June on an assignment for XL Magazine to find hot, up-and-coming NY filmmakers and learn how they were approaching their work and finding success outside of Hollywood during this economic crunch. Miraculously, I was on her list.
I had the pleasure of joining doc-makers Margarita Jimeno (Gogol Bordello Non-Stop), Eddy Moretti (Heavy Metal In Baghdad), Jody Lee Lipes (Brock Enright: Good Times Will Never Be The Same) and Matt Wolf (Wild Combination: A Portrait of Arthur
Russell) for a photo shoot in Williamsburg that eventually became the fabulous looking spread below (Click images to see larger.)
If anybody can translate the gist of the article, give me a holler. In the meantime, I’ll share my answer to one of the writer's more thought-provoking questions:
Chiara (to all): Most of your films are addressing ethnic/avantguard/political music scenes. Do you want to say something about why there might be a phenomenon pushing young directors such as yourselves to want to talk about influential, and "underground" music scenes?
Me: Many of the best known directors have made music films or music videos at some point in their careers. One of my favorites, Michel Gondry, started as a music video director. I don’t think it’s a new trend, but it’s a powerful one. Both music and film can be agents for social change, so they have a natural link. Music also lends itself to film so well because the pace and passion of the music can set the whole tone and aesthetic of the film. Also, musicians are often fascinating characters, and that’s what a film needs most of all. For my film “Jericho’s Echo: Punk Rock in the Holy Land,” the colorful and rebellious young punk musicians of Tel Aviv were the perfect characters to tell an alternative story about the complicated political situation in Israel.