Talmyndir

Rifja hér upp lítið viðtal sem James Cornsmith tók fyrir Talking Flicks: 

It is a common knowledge in Iceland that directors Dagur Kari and Olaf de Fleur have been sworn opponents on the filmmaking war-field. Dagur Kari has been the spokesman for finding the reality within the abnormality while de Fleur has been arguing that one cannot achieve a toilet-flush by speaking about it, not to mention the oddity of neorealism that Dagur so powerfully denies.

/// For starters, you both have been nominated for the Icelandic Film Awards, yet Dagur Kari is the one who always wins? Has that influenced your well known differences?

DAGUR: "I actually think that Olaf has won it twice for his documentaries"
OLAF: "It's true but Dagur is the one who has lost count on his awards, worldwide."
DAGUR: "Awards are nice but you always ignore them, otherwise they have no meaning. To some extent I think awards are useless, since films is just something you cannot really compete at.

/// Olaf, you've stated that Dagur is a big phony, what urged you to state this publicly?

OLAF: "Well, It's just because I think his films are just not that good. I don't get what all the fuzz is about? Dagur Kari this, Dagur Kari that, you just get tired of hearing his name for starters, and then just when I look at his films they're just so ... you know. I think especially "Flying with hope" (Flug Vonarinnar 1998) is something just a clear insult, yet it won all possible film prizes in Eastern Europe, what was that about?"
DAGUR: "Well I was living in Bulgaria at the time, I don't know why "Flying" won all these awards, it's all done in three takes.
OLAF: "I thought the kitchen scene was good though"
DAGUR: "You mean with the birds and the chairs?"
OLAF: "No where you have that shot of the dead mouse"
DAGUR: "That was not "Flying with hope", that was "Urgent message for Margaret" (Påtrengende budskap for Margaret 2001).
OLAF: "Oh, sorry".
DAGUR: "That's ok"

/// Dagur, now you are working as a consultant for Poppoli, Olaf's corporation, how do you feel working for him after things fell apart on your co-directing project with Olaf in Amsterdam "Wind in the stillness" (Wind in de onbeweeglijkheid 2003).

DAGUR: "I feel fine with it, I think we were just different and I had never worked with any director on a project and while Olaf was just drinking coffee and scratching his nose I was doing all the work."
OLAF: "Well, they (De realiteit Film, Holland) were paying us so much and Dagur was a much bigger name than me so I didn't get to do anything at all, if I wanted to do something, like with the prostitution scene, Dagur always went to the producer and got him on his side. I even had to eat alone in the cafeteria, not even the AD recognized me on the set."
DAGUR: "Sorry about that:"
OLAF: "It's ok."

/// And now working together, many people were surprised that you, Dagur with your name, joined the Poppoli corperation.

DAGUR: "I realized that, and many of my fans have contacted my office and asked what the hell is going on. But I'm a nice guy, I know Olaf has a lot to learn and I'm here to give, you know."
OLAF: "We are happy to get Dagur on board for sure, of course I have trouble working with him after our history, but now when I run the ship, there shouldn't be any major problems."

/// Tell us a little bit about the film you are working on together at the moment.

OLAF: "It's called "Me and my big ass" (Me, ed il mio asino grande) and it's all shot at Cinemacitta in Rome where me and Dagur live at the moment. It's about an elephant who wanders home to his mom after his plant in Africa dies.
DAGUR: "It's a project that is very close to my heart, about the wildness within places who have no home for such things, it's like a passional feeling that is like book that I am not allowed to read. The only thing now, after Olaf won the Gunther Heimarr award, I'm the one who has to eat alone in the cafeteria (laughs).
OLAF: "Sorry about that."
DAGUR: "It's ok.

Athugasemdir

[Gunnar Helgi Eysteinsson, 29.11.2007 kl. 19:36]