The Director - Dokumentarfilm über Frida Giannini
Vor wenigen Tagen wurde auf dem Tribeca Filmfestival in New York der Dokumentarfilm über die Gucci-Designerin Frida Giannini vorgestellt. 10 Monate lang hat Christina Voros die charismatische Modedesignerin begleitet. Heraus kam ein Film, produziert von James Franco, über ihre außergewöhnliche Arbeit für das florentiner Modehaus, das inzwischen nach Rom umgezogen ist. Hier der offizielle Trailer:
Ich habe Frida Giannini vor Jahren einmal treffen dürfen für ein großes Portrait in der damaligen deutschen Vanity Fair. Sie ist eine ganz besondere Person, eine starke Frau, die zart ausschaut. Ausgesattet mit einem eisernen Willen und einer unglaublichen Entscheidungskraft. Eine Frau mit klaren Visionen und Strategien.
Die Regisseurin, die immer hin eine so lange Zeit mit Giannini verbrachte, hat in einem Interview diese Seite genauer beleuchtet und erklärt, wo die Probleme beim Drehen waren.
What kind of preparations and research did you do prior to shooting?
I bought Rosetta stone in Italian and read 3 articles on Frida. I've had filmmaker friends tell me that I do things backwards, but for a portrait or process pieces I often consider research as the second stage, not the first. I like to start by knowing only as much about a person as they are willing to share with me, and to get to know them without the filter of someone else's perspective, or their press persona. After we'd been shooting for 6 months I went back and read everything I could, watched every video I could find online. One of the loveliest things to me about Frida is that she is incredibly real. She is poised in public but being in front of the cameras is not where she would rather be. So the research I did post factum was helpful in terms of stitching together the chronology, and certain facts, but as such a private person there was little in the research that taught me as much as sitting in a room with her and watching her work.
What are some of the difficulties you and your team faced during production, and how did you overcome them?
When we began shooting I spoke no Italian. Now I can catch about 75% of most conversations. It made things a little tricky in the beginning. Frida and her team are incredibly close, very tightly knit and protective of each other. It was a hard seal to break in the beginning. However, by the 4th or 5th shoot we started to find that balance of being invisible but present, that is to say, people would greet you when you entered the room and then forget that you were there. In the beginning it was a bit of the reverse. People wouldn't really acknowledge your presence until you were in the way. Not in an unkind way, but in a manner that made it clear that they were protective of Frida and of each other, and we were in a place where cameras had never been allowed to go before. Developing trust with my subjects is always the most important element for me. In a world where image and perfection is everything, relaxing into the presence of a camera can be a difficult thing. But over time we got there. We finished shooting in October and I received numerous emails after the men's show in January saying, "It was so weird not to have you guys there, we missed you."
Behind the walls of Gucci, have you made any major discoveries in regards to the creative process?
In exploring Frida's work, I've come to meditate a great deal on my own creative process. Unlike writing or painting which are more solitary endeavors, fashion and filmmaking are similar in that both require a tremendous collaborative effort; both are industries that synthesize many disparate elements into a specific idea or spectacle, and require many hands and minds to do so. Frida is a brilliant designer, but her role requires her to be so much more. She is a director and this tasks her to be as much of a leader an artist. It was inspiring to be a fly on the wall inside her house, and it taught me a great deal about myself and the balance of creativity and leadership in my own process as a director in a different medium.
During production, what was one thing you learned or surprised you? What will you take away from this experience?
I was blown away by the vast scope of the design process both in terms of how many moving pieces there are, what a collaborative effort it really is, but also in terms of the sheer numbers. So many ideas are developed and so few dresses or bags actually make it to the runway. The level of scrutiny and the number of decisions that are made to narrow a collection down to a show is astonishing.
What would you like the audience to take away from the film?
Fashion permeates our world; brands drive us and define us as a society – even if we choose not to buy into the symbolism of what that means. In a globalized economy companies are the new nations, and there is a great deal to be examined in the ways in which art is commoditized. This complex ecosystem is a back drop for a very simple portrait of a remarkable woman in a fascinating place of creative power. My hope is that it takes the audience through a journey of subtle evolution and a greater understanding of an artist and of the industry on which she is leaving her indelible mark.
Wann der Film in Deutschland zu sehen, ist noch nicht klar.
Video: PR Youtube