Film Interview by Chris Olson
Having recently interviewed filmmaker James Maximilian Jason, one of the minds behind Gothic Multimedia Project, I was also lucky enough to catch up with producer, actor, musician (among other talents) David Bosch. In this filmmaker interview we talk about combining art forms, experiemental cinema, and what he would say if he were a dolphin...
Can you tell us a bit about your role in Gothic as a group, and your role(s) in Beneath the Snow: Piovono Ombre?
As a key-member of the Gothic Multimedia Project I took care of the graphic part, from the illustrations for the audio tracks to the scenic design and, in some cases, I realised stage costumes by myself. Furthermore, beside my work as an illustrator, in BTS-PO I acted for the very first time in my life, playing the main character in the most of the film.
What is the creative process like on a film of this magnitude? How do ideas get shared and implemented?
We started from our basic trademark: multimedia art. We aim at proposing a total art opus, including the principal artistic means: music, painting, poetry, acting...
The choice between two options has been the fundamental concept beneath this work and we developed the film around this idea. I always joined my artistic views with James' [Maximilian Jason] emotions translated into art, dealing with worlds once so far from me such as music and poetry.
Beneath the Snow contains many artistic mediums. How do you engage with these as an actor?
I was always fascinated by artistic eclecticism and I guess that this should be the primary quality of an artist. Therefore I felt stimulated by acting because, although I'm not a professional actor, I found something emotionally stirring my new duty as the protagonist and this role inspired a lot of my graphic work here.
What is the process like for you being in a piece of interactive cinema, knowing that the story will differ from audience to audience?
As the main character, I took part throughout the whole plot of the film, trying to give Alessandro Zamboni (the leading role of the main story of BTS-PO) and the other roles I played different characterisations depending on the story's development. Of course the starting plot splits into two parts where the protagonist experiences two different journeys: in the former he is chased by someone/something whereas in the latter he's searching for someone/something. In the sub-stories enclosed in these two parts I embody pretty grotesque characters, between absurdity and dream.
The DVD for this film was pretty epic, and I know you had a hand in making this. What was that process like? And how important is it for viewers?
The booklet is a living body of the whole work and so it's essential for understanding that. The theme colour is the Grey (the colour of Indifference) and, when drawing the DVD front-cover, I tried to elicit surrealistic emotions in the viewers.
In this frame, the booklet is so important since it develops the plot and determines the pace of the storytelling, supporting the basic information with some illustrations along with all the poetry: such a complex opus could be quite unintelligible without this enlightening guide.
As a producer, what sort of audience are you looking for with this film? And what methods are you implementing to reach them?
We look at BTS-PO as a real avant-garde work of art and not only as a highly experimental and challenging film: this is the way we'd like to propose it to our audience. Our “target”, if we can use this word so unusual to us, is people that could be into contemporary art and not only into music or theatre. We aim at a daring audience receptive to new media arts and to new cultural suggestions. What's next for you?
The GMP has still so much to tell and we have already some work in progress... but, you know, I can't tell you anymore... Can you at least tell us what you would say if you were a dolphin?
“Don't confuse me with a tuna and don't catch me... I have still so many dreams to achieve and so many insights to develop”.