Introducing the students of the next CineCampus we start with young Israeli director Amit Tzarfati /// Vi presentiamo gli studenti del prossimo CineCampus partendo dal giovane regista israeliano Amit Tzarfati
The Trailer of Hunger, Amit Tzarfati’s gradution film.
Please Amit introduce yourself and tell us about your background:
I actually started to study filmmaking in high school. At the age of 17, my graduation film won the young category in the Jerusalem film festival. Then I joined the military, I served in the film unit for three years, there I primarily directed films for Special units. A few years later I started to study cinematography at ‘SAM SPIEGEL film school’ in Jerusalem in their five year Master program. My graduation film “HUNGER” is still showcased in various festivals around the world. In addition, I also work as a director and video editor for a living.
As a director what is your idea of cinematography and your relationship with the cinematographer and the camera crew?
As a director, I try to see myself as a tool that serves the concept of the film that should be translated from a stage of a sole idea to the actual stage of a complete film. In the actual stage, the film itself, everything counts – the design of the light is important, the costumes of the actors are important, the frame size is important, the camera angles are important, the decision to move the camera or not to move it is important – everything counts. This decisions eventually define the film. When I work with a cinematographer he is the closest man for me at the production and of course in the pre-production process as well. When I work with a cinematographer, I first of all make sure that he will have an opinion, I’m not looking for a ‘yes man’. It’s important to me that the cinematographer would be involved in my decisions, understand them, agree with them – In most cases it’s important to me that we agree together. The dialogue between the cinematographer and the director is very important. As I see it, when the cinematographer shoots, he must know what the characters feel and why they feel so. This dialogue between the cinematographer and the director eventually define how the film will look and feel. It’s not that as a director I’m the only storyteller here. It’s me and the cinematographer, he eventually functions as my eyes.
How did you get to know about Terre di Cinema and what do you expect from your participation at our CineCampus?
I heard about the Terre di Cinema through a few people from Israel, graduates from the Tel Aviv university and from Beit Berl collegewho attended the past editions of Terre di Cinema. My expectations are obviously to learn, experience directing outside my comfort zone, not in my native language and in a place I have never been before. The main goal is to succeed to make a great film as I imagine it.
How do you feel about the opportunity of shooting 35mm Kodak film stock during the 2017 CineCampus?
I don’t have any previous experience of shooting actual film stock, not even in 16mm. Since this is an expensive process, it’s very rare these days to shoot with film stock in Israel. I think it’s an opportunity of a lifetime to shoot in kodak 35mm. it requires high discipline from the director, production and actors. I guess it makes the movie production process more holy. This is kind of a personal dream for me and I’m really excited about that.
Besides attending the Terre di Cinema CineCampus next June what are your plans for the future?
These days I mostly deal with writing. I save some money as an editor in reality shows to allow myself this quiet time to write. Currently I’m working on another two short films, I hope to shoot them soon, and I started to develop a feature film. The ambition is to continue creating more and more frequently, stepping out from the small rooms where I do my writing to the big screen to set out and reach as much people as I can.