“The Painter and the Thief” captures the distinctive relationship that developed between an artist (Barbora Kysilkova) and a drug addict (Karl Bertil-Nordland) who stole two prize work from her first massive gallery present. What’s outstanding isn’t solely how director Benjamin Ree captured each topics’ points-of-view all through an intimate three-year journey, but in addition the best way he was in a position to translate his topics’ emotional states along with his digital camera.
When Ree and Kysilkova had been on the Toolkit podcast, the director attributed a part of his success to the small documentary’s massive lunch funds. The director would attract his two cash-strapped topics with elaborate meals spreads at his workplace, the place the three collaborators would have lengthy talks concerning the film they had been making.
“I believe that it’s very crucial for a filmmaking process like this to meet up without the camera,” stated Ree. “At lunch we’d talk about what we’ve already filmed, then we talk about what we with the film as a whole,” stated Ree. “I think for a film like this you need approximately 100 recording days. That’s a lot of filming for two people who are not getting paid, so much of my job is to motivate them, but also involve them in the filmmaking process.”
The motivation usually got here within the type of listening to from his topics which elements of their lives and relationship they wished to movie, but in addition how they felt concerning the occasions, individuals, and locations exterior of that. “They tell me how they feel about something, but I don’t use it in the film,” stated Ree. “I use it as a reference to find a cinematic language.”
Within the video essay above, Ree talks about taking pictures the father-son relationship that Bertil-Nordland wished to be a part of the movie. “He describes the mood, the atmosphere when he meets his father, and then I begin to think about how can we film this,” stated Ree. “Of course, I need to my intuition to feel the atmosphere in the room, but it’s based on the talks with Karl and Barbara, how we can we make it represent their point of views.”
Whereas Ree depends on his instinct, he is also drawing from the movie catalogue operating by means of his head and lets his favourite filmmakers encourage these decisions. Within the father scene, Ree relied on an over-the-shoulder shot that was impressed by Ingmar Bergman’s movies.
To see how the “The Painter and Thief” borrowed from Sam Peckinpah’s “The Getaway,” and the works of Martin Scorsese and François Truffaut, watch the video above, To listen to the complete dialog, subscribe to the podcast under.
The Filmmaker Toolkit podcast is out there on Apple Podcasts, Spotify, Overcast, Stitcher, and SoundCloud. The music used on this podcast is from the “Marina Abramovic: The Artist Is Present” rating, courtesy of composer Nathan Halpern.