{"id":2591,"date":"2010-06-21T08:27:00","date_gmt":"2010-06-21T07:27:00","guid":{"rendered":"https:\/\/www.artfilmfest.sk\/en\/blog\/uncategorized\/2010\/06\/an-avid-fisherman-who-makes-films\/"},"modified":"2016-02-08T12:38:06","modified_gmt":"2016-02-08T11:38:06","slug":"an-avid-fisherman-who-makes-films","status":"publish","type":"post","link":"https:\/\/iffartfilm.com\/en\/blog\/highlights\/2010\/06\/an-avid-fisherman-who-makes-films\/","title":{"rendered":"An avid fisherman who makes films"},"content":{"rendered":"<p><b><span lang=\"EN-GB\">You grew up in Iceland in the sixties. How did the domestic film industry look then? <\/span><\/b> <span lang=\"EN-GB\">There was no film industry at all at that time. Few people were making documentaries; there was no official money for filmmaking, so it was very poor. It all started in the 90s. Also Iceland people saw very few quality films; we had nothing worth to see at that time, so we had to jump far to western American movies broadcasted on TV. <br \/><\/span> <b><span lang=\"EN-GB\">What is the situation now? How do you see young Icelandic filmmakers?<\/span><\/b> <span lang=\"EN-GB\">It\u2019s rather poor, because the government after the recession cut everything down like ten percent, and the Film Fund was cut by like thirty-five percent. It meant we were able to make only five to six films a year, and now it is only one to three films a year, so the situation is really horrible at the moment, and I think it will not get better in five years\u2019 time\u2026.<\/span> <b><span lang=\"EN-GB\">You have never studied at&nbsp;film school but you were an important part in establishing&nbsp;Icelandic film culture, founding the Reykjavik Film Festival in 1978. You were also the chief editor of the first film critics\u2019 magazine. What was your intention at the beginning?<\/span><\/b><span lang=\"EN-GB\"><\/span> <span lang=\"EN-GB\">There were only American films showed in Iceland and I wanted to change that and I really did change it for the time. I was running for the film society for many years and we showed lots of good quality films. So my intention just was make my countrymen aware of other accessible cinemas, and I succeeded. People have been quite willing to see better quality films and that made it a lot better. I could see that my nation was getting very fat because of \u201cfast food\u201d, so I wanted to introduce quality \u201ccuisine\u201d from Asia and Europe. <br \/><\/span> <b><span lang=\"EN-GB\">Why did you decide to devote your life to the film industry?<\/span><\/b> <span lang=\"EN-GB\">It was not a decision; it came slowly, all by itself. It is just like jumping in the river and floating with it. <br \/><\/span> <b><span lang=\"EN-GB\">How did you educate yourself? Did you personally take part in any workshops or seminars?<\/span><\/b> <span lang=\"EN-GB\">I read a lot of books and I travelled. I actually went to the film museum in Paris, where I saw a lot, and I think the film club was my best education because I was also a projectionist, so I saw every film five, six times. I had time to study what created this feeling that came up off the film. I educated myself by watching films. It is like writing. You can\u2019t become a writer unless you read all the good literature.<\/span> <b><span lang=\"EN-GB\">Do you prefer making documentaries, experimental works or features? <\/span><\/b> <b><span lang=\"EN-GB\"><\/span><\/b> <span lang=\"EN-GB\">I don\u2019t really care. It just depends, because it always came automatically. When you make a feature film, this is a long, long process; it takes maybe three or four years to write a script and then one or two years to finance it. The last documentary I did took only three years. I think it is very a passionate job making documentaries; it is like catching a fish. I love fishing. It\u2019s changed me very well in the sense of making documentaries. I love it because I\u2019m a very passionate fisherman and also I think you learn a lot about how to create atmosphere in a fiction film when you are into documentaries.<\/span> <span lang=\"EN-GB\"><\/span><b><span lang=\"EN-GB\">Which type of documentaries is for you most powerful and why? <\/span><\/b><span lang=\"EN-GB\"><\/span> <span lang=\"EN-GB\">For me my last movie <i>Sunshine Boy<\/i> was very powerful, because I thought I was filming a miracle. I liked that very much. When you make a feature film you are sharing yourself. You are masturbating. But then you make a documentary which influences millions of people.<\/span> <span lang=\"EN-GB\">&nbsp;<\/span><b><span lang=\"EN-GB\">The <i>Saga of Burnt Njal<\/i> is a short experimental movie. After its premiere screening in the largest cinema in Reykjavik, you had to temporally leave the city. What were your feelings at that time?<\/span><\/b> <span lang=\"EN-GB\">For me it was a joke. But for the nation it was not because Njal\u2019s Saga was written in 300, 400 pages, and people also felt independent because of the legend. So people were flocking because I announced that I was shooting a famous saga. Then I announced that I would have only one screening for the film and I surprised people. What I did was I simply shot the book page by page and I put a fire to a page and the fire destroyed the entire book. And people got really angry at me. But I got money to make my first documentary, <i>The Blacksmith<\/i>; however, I didn\u2019t get any money from the Film Fund for many years, like ten years. Like I said, it was a bad joke.<\/span> <b><span lang=\"EN-GB\">&nbsp;Your popular movie <i>Children of Nature<\/i>, made in the 90s, is an elegy on dying, celebrating how beautiful, dignified and painless death can be. Where did you get the inspiration to make such a movie?<\/span><\/b> <span lang=\"EN-GB\">It\u2019s an autobiographical film from the time I spent every year in the countryside in the four months between May and October, so I got to know a lot of old people, very warm people, so I got the idea from being around these people for so many years. <\/span> <span lang=\"EN-GB\"><\/span><b><span lang=\"EN-GB\">Current events in Iceland have been connected with the volcano incident. Have you considered making a&nbsp;documentary about these events? <\/span><\/b> <span lang=\"EN-GB\">Not a documentary but fiction. It is beautiful to watch those volcanoes, but it is good to have a story around. <\/span> <span lang=\"EN-GB\"><\/span><b><span lang=\"EN-GB\">How do you see young Icelandic filmmakers?<\/span><\/b> <span lang=\"EN-GB\">I think they don\u2019t have a bright future because of this budget cut. I used to produce for a lot of young filmmakers in the past, and they are old too now. The only thing left positively is that the digital revolution will help them because working with reels is a really expensive thing to do. Now they can make a documentary for very little money. They just need to have the passion to do it. This gives a chance to interesting up-and-coming filmmakers. Also, the film school has just started to graduate the new talents, but they didn\u2019t all turn out equal; the film school is only ten years old. Things have been very poor, but I&nbsp;suddenly see lots of progress happening there.<\/span> <span lang=\"EN-GB\"><\/span>  <span lang=\"EN-GB\"><\/span><b>FRIDRIK TH\u00d3R FRIDRIKSSON<\/b> <b>11:00 T. Teplice (Kursal\u00f3n)<\/b> <span lang=\"EN-US\">Press Conference with F.T. Fridriksson<\/span>  <span lang=\"EN-US\">Along with guests Jim Stark, Laufey Gudjonsdottir, Peter N\u00e1gel, Alexandra Strelkov\u00e1<\/span> 21:00<b><span lang=\"EN-US\"> Tren\u010d\u00edn (ArtKino Metro)<\/span><\/b><b><\/b> <span lang=\"EN-US\">Personal introduction of the film Devil\u2019s Island<\/span>  <b><span lang=\"EN-US\">A friendly Norseman without a hammer<\/span><\/b><b><\/b> <\/p>\n<p class=\"align-justify\"><span lang=\"EN-US\">Not to tire you with these interviews, but I must turn back to Fridriksson, who has just tried Slovak beer, telling me jokingly that this was the reason he actually came.<\/span><span lang=\"EN-US\"> <\/span><span lang=\"EN-US\">\u201cNot really,&quot; he sniffed, adding that it was substantially worse in Japan.<\/span><span lang=\"EN-US\"> <\/span><span lang=\"EN-US\">From afar he reminded me of a Norseman, with his chiseled face and Thor-like hair.<\/span><span lang=\"EN-US\"> <\/span><span lang=\"EN-US\">And for a moment, one might even worry a bit that he might pull out a hammer and make the earth tremble with thunder, but getting to know him couldn\u2019t have been more pleasant, and Fridriksson showed himself to be a likeable companion not only over a beer, but also in discussions of culture, film and life.<\/span><span lang=\"EN-GB\"><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"<p>You grew up in Iceland in the sixties. How did the domestic film industry look then? There was no film<span class=\"excerpt-hellip\">","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[16,17],"tags":[],"class_list":["post-2591","post","type-post","status-publish","format-standard","hentry","category-highlights","category-news"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v27.2 (Yoast SEO v27.4) - https:\/\/yoast.com\/product\/yoast-seo-premium-wordpress\/ -->\n<title>An avid fisherman who makes films &#8226; IFF ART FILM<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/iffartfilm.com\/en\/blog\/highlights\/2010\/06\/an-avid-fisherman-who-makes-films\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"An avid fisherman who makes films\" \/>\n<meta property=\"og:description\" content=\"You grew up in Iceland in the sixties. 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