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Video: Gaja Madžarevič

After the masterpiece by Roy Andersson, A Pigeon Sat on a Branch Reflecting on Existence, the third part of the cinematic trilogy on human existence,the film’s cinematographer, István Borbás, spoke to the viewers in CD’s Kosovel Hall. Borbás and Andersson, who have been working together for quite some time, met accidentally at the opening of an exhibition, and started discussing the art of cinema. Andersson was in need of someone to assist him in making commercials (among others, the Swedish director is an accomplished master of the advertising media). Apart from the trilogy, they made a series of shorts together and wrote a book. It is hard to believe that the film, according to Borbás, had no script but was based on a sequence of stills from which it developed throughout the shooting. With the exception of the flamenco instructor, a celebrated Swedish actress (but not dancer) Lotti Törnros, all the roles were played by non-professional actors, who were cast from photographs or randomly in the streets. The digital technique was used for the first time in completing this film, and what’s also surprising is that all the scenes were shot in a studio. Notwithstanding, at least a month was needed for each of the fully choreographed scenes, and much more for the extremely demanding horse scene, since such a large herd of horses is hard to control in the studio (especially in an interior full of people). Models were used for some scenes (e.g. the one with the fire-tube boiler), while the monkey subjected to electric shock was artificial.

After the Q&As the cinematographer was also available for questions outside the auditorium and told us many further anecdotes, among others that Borbás himself was one of the boisterous guests whose laughter is heard from the inn in the waiting officer scene.

Andraž Jež

Photo: Iztok Dimc
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