{"id":16647,"date":"2011-12-06T10:27:19","date_gmt":"2011-12-06T09:27:19","guid":{"rendered":"http:\/\/www.rapportoconfidenziale.org\/?p=16647"},"modified":"2012-12-17T15:27:04","modified_gmt":"2012-12-17T14:27:04","slug":"bogdan-mirica","status":"publish","type":"post","link":"https:\/\/www.rapportoconfidenziale.org\/?p=16647","title":{"rendered":"Bogdan Mirica [interview]"},"content":{"rendered":"

\"\"<\/p>\n

Interview with Bogdan Mirica,
\ndirector and screenwriter of Bora Bora<\/a><\/em><\/strong><\/span>
\nBy Roberto Rippa<\/span><\/p>\n

After graduating in Journalism, Bogdan worked as an editor, copywriter and novelist.
\nNonetheless, his interests in cinema led him to study Screenwriting and Producing at the University of Westminster, London and then to a career in the industry. He began as a script reader for Slingshot Studios in London and then he started his collaboration with MediaPro Pictures. After writing several scripts (“Ho Ho Ho”, “Rural Story” and “180”) he got to direct his own project, “Bora Bora”, in 2010.<\/span><\/em><\/em><\/p>\n

Roberto Rippa: Bora Bora<\/em> is your first film, where did the ispiration for it come from?<\/strong><\/span><\/p>\n

Bogdan Mirica: The core story \u2013 about a guy who grows cannabis by accident and whose crop is then burnt down by overzealous cops \u2013 is said to have happened for real, many years ago in Romania. My guess is this is just one of those urban legends \u2013 a rural legend in our case. But, overall, I like to think that Bora Bora is more than a story about a cannabis anecdote. And the inspiration, to answer your question, is everyday Romania.<\/span><\/p>\n

RR: I read that you studied screenwriting in England and that you wrote a few screenplay. What made you decide to direct?<\/span><\/strong><\/p>\n

BM: I always wanted to direct, but I waited until I felt it was the right time, the right project. I believe directing is the kind of craft that grows on you \u2013 and you have to grow as a person to be ready for it.
\nOn a more professional note, I was never pleased with what other directors did with my screenplays. I\u2019m not saying they were necessarily bad, they were different than what I intended when I had written the respective screenplays. So I said to myself: you can either stay aside and whine about it, or you can jump ahead, take a risk and get your hands dirty.<\/span><\/p>\n

RR: Bora Bora<\/em> starts as a description of life in a rural, poor, place and then it turns to comedy and ends with a touch of slapstick comedy. Do you think that comedy helps in making realism more believable and deep in cinema?<\/span><\/strong><\/p>\n

BM: Laughter is much more serious than people credit it to be. Yeah, you can have people slipping on a banana peel, or throwing pies at each other\u2019s faces. But the origins of laughter are serious. Back then when cavemen roamed the Earth, humans used to laugh in the absence of fear \u2013 whenever they felt comfortable, maybe whenever they had some hope they might make it to the next day, they\u2019d crack up a smile and then burst into laughter.
\nI definitely believe laughter adds and extra-layer of realism and life in cinema \u2013 as long as we\u2019re not talking about dumb dime-a-dozen comedies. And I also think that laughter works better with drama, than with more laughter.<\/span><\/p>\n

RR: Your film, in fact, tells a personal story with a great humour but this doesn’t hide a serious criticism for a situation created in a place that seems forgotten by everybody, politicians included.<\/span><\/strong><\/p>\n

BM: Yeah \u2013 but I didn\u2019t want to make it very political. I didn\u2019t want to point a finger to anyone in particular, just to have a glimpse at the absurdity of life, in general \u2013 and there\u2019s no one really you can blame for that. Every character in the movie is a little guilty, everyone is somehow innocent.<\/span><\/p>\n

RR: The acting in Bora Bora<\/em> is great. How did you work with the actors?<\/span><\/strong><\/p>\n

BM: They say working with actors for a first-time director can be a drag. That wasn\u2019t the case at all for me. I think my greatest advantage was the fact that all the actors seemed to have liked the screenplay. Actually when writing the screenplay, I thought that every part \u2013 even the tiniest one \u2013 should be juicy in a way. Ideally, every actor involved should be given the chance to create a golden nugget \u2013 no matter how small it is.
\nSo I like to think that each actor enjoyed his part \u2013 and I think you can see that on the screen. But what really fascinates me is what happens when an actor comes with his\/ her own proposal based on what you\u2019ve written. If you\u2019re lucky you can strike gold.<\/span><\/p>\n

\"\"<\/p>\n

RR: This is a question I ask every Romanian director I get to meet: For a few years now everybody’s been talking about a Romanian new wave in cinema. Do you believe in such a thing? Do you think there’s something in common between the works by so different directors such as Porumboiu, Sitaru, Mungiu, Mitulescu, Puiu, Crisan and now you?
\nWhenever I ask this, all the directors answer more or less that they do not believe that there’s a Romanian new wave. This summer, Anca Damian, the director of Crulic<\/em>, answered me that there’s something in common: the humour in telling reality which is a peculiarity for Romanians. Do you agree?<\/span><\/strong><\/p>\n

BM: For me personally, is not that important how you call it. There\u2019s something that definitely changed ten years ago, with Cristi Puiu\u2019s Stuff and Dough. And it changed for the better. That\u2019s not to say we didn\u2019t have brilliant directors and movies before \u2013 maybe they just weren\u2019t as internationally recognized (being under the communist regime and all that). For me it is more interesting to see Romanian directors as individuals, not as part of a trend, or a wave. I\u2019m more interested in the intricacies of a film, rather than the critical aspects of it \u2013 that will ultimately place it on a shelf under a certain label. That\u2019s the theorist\u2019s job, not mine.
\nAs regards humor as a common thread, I\u2019m not that convinced \u2013 there\u2019s plenty of it in Nae Caranfil\u2019s work (who is his own genre, by the way) or Porumboiu\u2019s, but I wouldn\u2019t go as far as saying that humor is one of the Romanian new wave\u2019s traits.<\/span><\/p>\n

RR: Ion, your main character, lives a weird reality and then he gets caught in a deeply weird situation. The writing is very precise and the directing too. How long have you worked on the script? And how long did the shooting last?<\/span><\/strong><\/p>\n

BM: I wrote a first draft of the screenplay about 9-10 years ago \u2013 but when it really started to get in shape was a year ago. During the preproduction I wrote it and rewrote it a couple of times, trying to tie all the loose ends, to make it funnier and thinking for the first time from a director\u2019s point of view \u2013 that changed it considerably.
\nAll in all, it took me maybe a couple of months.
\nThe shooting lasted precisely 7 days.<\/span><\/p>\n

RR: Did this first experience as a director changed somehow your perspective as a writer? If yes, how?<\/span><\/strong><\/p>\n

BM: No matter how gifted you are as a writer, a screenplay will always be just a blueprint of the film. Words on a page will never reach the complexity of that fantastic juxtaposition that is directing: people and emotions, props, cranes and lenses, light and shadow, music, sound and silence. If you want to be a happy screenwriter, become a director.<\/span><\/p>\n

RR: Bora Bora<\/em> got a prize at the Transilvania FIlm Festival a few weeks before being presented in Locarno. What’s happening now? Is it still around in festivals?<\/span><\/strong><\/p>\n

<\/strong>BM: Yeah, we went to Warsaw Film Fest, we opened La Cabina – Festival Internacional de Mediometrajes in Valencia, we\u2019re going to Thessaloniki Int\u2019l Film Festival and we\u2019ll see what happens next.<\/span><\/p>\n

RR: Are you currently working on a new project as a writer or director?<\/span><\/strong><\/strong><\/strong><\/p>\n

<\/strong>BM: I have a couple of different projects in development at the moment (all of them as writer\/ director) \u2013 but you never know whether they will pan out or not and if they do, when. We\u2019re nor exactly living the coziest of times.<\/span><\/p>\n

November 2011<\/span><\/strong><\/strong><\/p>\n

Read the article<\/a> on Bora Bora<\/em> in Rapporto Confidenziale
\n<\/span><\/strong><\/strong><\/p>\n

\"\"<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

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