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'Paradise' Trilogy Director Ulrich Seidl 'Proud' of Austrian Films' 'Harsh' Worldview (Q&A) - the Hollywood Reporter 08.04.13 17:55

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'Paradise' Trilogy Director Ulrich Seidl 'Proud' of Austrian Films' 'Harsh' Worldview (Q&A) - the Hollywood Reporter 08.04.13 17:55 'Paradise' Trilogy Director Ulrich Seidl 'Proud' of Austrian Films' 'Harsh' Worldview (Q&A) - The Hollywood Reporter 08.04.13 17:55 Follow Gefällt mir Subscribe Industry Tools Newsletters Daily PDF Register Log in 'MAD MEN' SEASON 6 PREMIERE NAB: FULL COVERAGE ROGER EBERT 1942-2013 'GAME OF THRONES' 'Paradise' Trilogy Director Ulrich Seidl 'Proud' of Austrian Films' 'Harsh' Worldview (Q&A) 11:23 AM PDT 3/28/2013 by Clarence Tsui 9 14 0 0 0 Email (#) Print (/print/431562) Comments (#comments) The controversial Vienna-based auteur talks about why he wants to show the world as hell. Having premiered individual installments of his Paradise trilogy at Cannes, Venice and then Berlin, Ulrich Seidl has been travelling the film festival circuit for much of the past year to promote the films. But his appearance in Hong Kong was special, as the city’s annual international film festival becomes the first stop, after the Berlinale, to screen all three entries in a row. Seidl himself was pleased too at the sold-out screenings for Love (about a middle-aged woman who travels to a Kenyan resort and buys sexual services from a “Beach Boy”), Faith (revolving around a devout Christian’s anguish as she battles with her Muslim husband) and Hope (centering on a teenager’s experience in a diet camp and her unreturned affections for her on-site doctor). Visiting Hong Kong with his teenage son, Seidl is on a OUR EDITOR RECOMMENDS prolonged break after years of non-stop work in the production and promotion of the trilogy, which he said could be viewed either as individual films or as a whole (the protagonists of the three films hail from the same clan). Praised by some and (http://www.hollywoodreporter.com/news/ulrich-loathed by others for his unflinching depiction of dysfunctional seidls-paradise-love-wins-415313) individuals and the circumstances which shaped them, the Ulrich Seidl's 'Paradise: Love' auteur talks to The Hollywood Reporter Wins Austrian Film Prize ( h (http://www.hollywoodreporter.com/) about his latest tableaux of some tt Austrian lives and how he might be stirring even more p http://www.hollywoodreporter.com/news/paradise-trilogy-director-ulrich-seidl-431562 Seite 1 von 6 Wins Austrian Film Prize 'Paradise' Trilogy Director Ulrich Seidl 'Proud' of Austrian Films' 'Harsh' Worldview (Q&A) - The Hollywood Reporter 08.04.13 17:55 :/ controversy later with his next documentary. / (http://www.hollywoodreporter.com/review/paradise-w The Hollywood Reporter: Why did you decide to have hope-berlin-review-419582) w w a photo exhibition and the launch of a photo-book in Paradise: Hope: Berlin Review . Berlin, just as the third installment, Hope, premiered ( h h o there at the festival? Paradise:tt Faith: Venice Reviewll (p y Ulrich Seidl: I always wanted to use the images in the films as :/ w h photographs and show them without a context - because I think tt/ o pw o the pictures in my films are like tableaux so I to see how they :/w d work by themselves. The three films have three different /w r (http://www.hollywoodreporter.com/review/cannes-w. e atmospheres and settings, and it’s tempting to create a book to h p review-paradise-love-326278)w o o w show the differences and connections between these Paradise:ll Love: Cannes rt . "paradises." Reviewhy ( e w r. o h HONG KONG REVIEW: A Complicated Story llo tt c o o y p (http://www.hollywoodreporter.com/review/a-complicated-story-hong-kong- wd :/ m r / o / 431280) (http://www.hollywoodreporter.com/news/strand-oe w n p e releasing-ulrich-seidl-paradise-love-paradise-d w THR: It’s interesting to see this endeavor as a ro w w faith-paradise-hope-trilogy-368952) reframing of your images – as social frameworks, that ert . s Torontope 2012:h Strand / of institutions, seem to drive your work, just like how Releasingor. o Nabs U.S. Rightsu to c lr Ulrichrt Seidl’sll 'Paradise' the Paradise films tackle institutions like Kenyan Trilogyo i e (y holiday resorts, religion and diet camps. Why were m c r. hw /r h you interested in looking at controlled environments c tto e - likeo these?po v s m :/d i e /r /r Seidle : Actually I had this concepti 20 years ago already that life is constrained by institutions. You e we w d werev bornwp in a hospital, which is an institution; you go to school and the church; you serve the / l i wo military,p and then you die ins a hospital. And then all the government departments that you have to e .rt a - approachw heto do administrative work about your life. So life is an institution and a prison as well. r p / or. a a p llc THRd : So in what ways dor you think "paradise," the one which is to exist in afterlife, a yo i a willr be anwm institution? s d a o/r e i d oe Seidl- : I don’t know what’s theres after you die. But paradise is a place you are longing to, somewhere i dv h e yous imagineri to be. o - e e p l THR- : Is pwthe title ironic, given the milieus you showed in your three films are hardly e o f o/ - v happya placesrtc but spaces defined by rules and leading to disappointment? b e it ea e - Seidlh : Ofr. ncourse it’s not ironic. A paradise is a place where you look for dreams you long for. I’m rl w - cn describingi people finding theiri ways to what they want. The films don’t describe paradise itself but m oe n n whereo theyms want to go. For me, pessimism is not something worse than optimism. It’s just something - s v /- different.r So what I’m describing- here is how you’re looking for ways to change something, maybe i nr e 4 somethinge e you could call hope. I didn’t make the world more evil; I’m just telling stories and giving v 1 - wv i 5 your news siabout what the world is like. e 3 e /e w 1 THRv : Dosw you think current social systems, like capitalism, are to blame for these - 3 i tr- horror4 stories, as you mentioned) how the three tragic protagonists in these films are e ap 1 definedw byna their “low market values”? 9 - dr 5 v -a Seidl8 : Of course capitalism has created an unfair world and it’s getting even more unfair. Especially e rd 2 then powersei are changing, not just globally but in one society: you know, looking at [the middle-aged ) i s sex tourist]l Teresa in Love, the way she’s looking for young, black guys – the reason lies behind the c e wayse of oura- own society, how we define beauty, something which is not in her reach anymore. This is - l the reasons why she’s longing for something somewhere else. fi io l nv THRm : You’vege tackled Love’s theme of sex tourism before in Import Export in 2007; the- religious-- conflict between a married couple which drives Faith is similar to the f u3 real-lifee lr 2story in your documentary Jesus, You Know. How did you arrive at the story s 6 for Hopei ? ti c2 v h7 Seidla : When-8 I was writing the script with my wife [writer Veronika Franz], we had this idea of writingl- theses) stories about three women. So I took the two you mentioned and there’s the question of 3 e who6 the thirdi one is. The idea was to show a different generation from the two women so that’s how 7 d http://www.hollywoodreporter.com/news/paradise-trilogy-director-ulrich-seidl-431562 Seite 2 von 6 Trilogy 'Paradise' Trilogy Director Ulrich Seidl 'Proud' of Austrian Films' 'Harsh' Worldview (Q&A) - The Hollywood Reporter 08.04.13 17:55 we7 came tod the idea of the girl. And we had these images in my mind of diet camps in the US – and 1 l- there’s1 alsop this connection with the mother [Teresa in Love] who’s overweight. 3 a THR) : Originallyr Hope is meant to be the second installment and Faith the finale. a Why wered the two films swapped in order of appearance? i Seidl: Thiss is the experience we had in the editing room. I was editing 90 hours of footage for 1 1/2 e years, and- so it’s a very long way to find the right order to tell the narrative. So we have to make the right decision.l We thought of putting Faith as the last one but we didn’t do that because it’s too heavy o – we don’tv want audiences to, after six hours of watching the film, have that one in the end. Instead you have hope,e the young people – and it’s a better narrative to end the film. - p THR: How was it working with a non-professional actor, Melanie Lenz, in the lead a role in Hoper ? a Seidl: Workingd with non-professional actors, like Peter Kuzungu in Love, Nabil Saleh in Faith i or Melanies in Hope, it doesn’t matter whether they are in the lead roles or not. It’s about how to get the best oute of them. The only difference of course is that Melanie is very young – she was 13 when - she made fthe film – so we needed a longer preparation because the most important thing is to build a a trust, that she’s telling me what she’s thinking and she has a natural way of acting in front of the it camera.
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