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Q&A Session with Jasper van de Pol
– What projects are you currently working on?
Currently i am doing research for my second documentary. After ‘Nightshift’ i immediatly started thinking about what to do next. Right now i’m working out several idea’s, which in this phase i would like to keep for myself.
– Regarding your experience, can you give 3 keywords that ARFF International provides to the filmmakers?
– What do you think about the Netflix influence on the film industry?
I think it’s a good thing that it’s such a populair platform, because it stimulates people’s interest in films and series. The last 10 years more and more people keep going to the cinema, which i think is also due to netflix. Personally i don’t use it that much. I would if they would increase the variety of films and become more like the Spotify of film, but i think they will keep focusing on their own content more and more. The downside of it all is that there are other streamingservices popping up who also want a piece of the market. In the end i don’t see people pay for like 5 different streaming services every month.
– What are the main qualifications of a successful Co-producer?
Creativity, Persistence and getting yourself surrounded by nice people.
– What do you think the feature film “Astrall Story” will be about?
– Which 3 films inspired you to become a filmmaker?
– Buffalo ‘66
I love everything about this movie and it still is my favorite. Every shot is like a piece of art. The fact that Vincent Gallo, wrote, directed, did the music and stars as the lead also adds up for me. The acting is great, cinematography is awesome, the pace is perfect, soundtrack is sick, I could go on forever.
– Taxi Driver
For me Scorsese is the GOAT. He is the best allround filmmaker and made so many great fims in different genre’s with ‘Taxi Driver’ being my personal favorite. The whole vibe of the nightly scenes was also a big inspiration for ‘Nightshift’.
I remember watching this for the first time and really loved that it was so carefully made. It felt fresh. The characters aren’t overdone like in some of Andersons later films and much like Buffalo ’66, every scene is wonderful to look at.
-What’s your approach to Dogme 95 and what how do you feel about creating Dogme 2020 manifesto?
I think it’s good to hold on to the basics of filmmaking. It really let’s a film rely on it’s own strength. Besides that it also creates an environment where filmmakers can make the stuff they want to create themselves.