Journal #001


October 8th 2016

FIGARO’S WOLVES

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DOMINIK GALIZIA ON HIS DIRECTORIAL DEBUT, THOSE OTRAGEOUS MID-TWENTIES AND DANGEROUS TOPICS

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Italo disco sounds in the background, low to allow the rain to sustain a smoky atmosphere: “it’s now quiet and it’s getting uncomfortable”. The Fever Collective Journal comes to life in “the hood”. October 8th 2016, 17:58h on a Saturday evening.

And it starts with film; with passionate, nameless love. It had to. You will lose things along the way, you will lose your focus on mostly anything around you, just because. Your only need will be to see those words move in their own shoes. It’s fleeting lightning, once it is all gone and burnt into a Blu-ray, electrocution while trying to develop that first feature film. It happened in this very room, probably surrounded by the same sounds, probably the smoke has not yet settled and we are still breathing it. It is Neukölln four years ago, Dominik Galizia sits on that table and on that chair furiously hitting the keys of his laptop, furiously coming back home after days of production work, furiously consumes any Japanese flick he can come across. A person obsessed with film whose usual social media profiles read “Will direct for food.”

“You are hungry but don’t have enough money to eat a proper meal. The fucking bills, problems with family, friends are driving you nuts and you cannot run away from them. They are not serious problems like you are losing a leg but they are there. It’s like the girl, she’s in a rooftop and she cannot escape, otherwise she would die. Of course, she can walk out of the door and leave but you just don’t do that. Even when you run 10km away you will have those same problems fucking you every day. I was looking around me: in our mid-twenties we all had the same issues; we don’t know where to go”. A diary of frustration for a certain time in your life that Dominik took literally into the situation of a “beautiful girl named Colette” who is raped day by day by three men on the top of a city. “But then you find love. And you just forget all that, all the problems. You just forget you need to eat because you have somebody else”.

"I mean, come on, here in Germany you need to already find funding to apply for the funding... The process could have become so depressing before I just realised you don’t need a lot of money to shoot your film the way you want it. Even if no one cares about first time filmmakers who want to shoot a genre movie instead of political topics or social stuff. There is so many people with great ideas who did not join a film school and nobody gives a shit about them, but this is no excuse not to shoot your movie”.

“Here in Germany you need to already find funding to apply for the funding"

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The process is demanding, and even if a filmmaker can not produce work as easy and cheap as a musician can record a song or an artist can paint a canvas, the hardest part is not at all different from any other disciplines. The time when you face yourself at every moment of the production: you can’t rely on words. When you are 24, “there is so many things that you want to do, that you want to shoot... and then four years after you are finally watching the edit you and just want to take it all out. It’s childish and it makes no sense that this character is saying this. Maybe later on the 30's or 40's it’s something else, but there is so much development a person goes through on their twenties that things feel awkward faster.”

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A black and white modern fairy tale extremely influenced by Japanese 60's cinema and music video making “It’s like a playground, where you learn how to tell stories. Luckily this time I had nobody to tell me what I can shoot or can not and I could go into sex and violence the way I wanted.” A low budget debut that is able to show itself classy on the visual side as well as maintain a strong narrative tempo, even if Dominik’s premise was always based on not revealing much. “The plot in this film is not as important as the feeling you have and that is what I wanted to capture. It’s not the usual German movie on the way you show sex or the way you build up the story. Maybe I was trying too hard: you don’t have a real beginning, middle part and ending, you don’t have something building up, building up and then exploding. It’s there on a certain way but not on the classical one, it feels more Japanese. Deep down into the films of Koji Wakamatsu or Masao Adachi.”

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"A dish best served cold"

And the Italian ascendance “Yes, characters talk a lot”.

And unbearable topics. “Film is about playing with the forbidden, things you can’t do in real life. It’s not that I want to go and punch people in the face or anybody to ever, anywhere get raped. The way film can build a beautiful scene out of a horrible thing is so far away from the real world... it’s nice and that is very appealing to me when it comes to talk about daily life.” “If there is something I can advice? Sure, when you shoot your directorial debut be careful if there is rape involved. Maybe nobody wants to watch it.”

"When you shoot your directorial debut be careful if there is rape involved. Maybe nobody wants to watch it”

The twenties will come to an end soon and our mind-sets could hopefully settle down. Still writing on that keyboard but now fantasizing with a second script, more into his own childhood thoughts and wonderings under the scanning eyes of beautiful old film posters. “But it’s fine, because the first one is finally done.” The hard-core milestone. “I like to go for a walk, here you can eat good, you don’t need much to live like in other cities. All my friends live around... I like to be far from the talking though, here in Berlin everybody is doing something creative, everything is talking. And that is something very stressful about this city.”