João Ricardo - Roger 71 08
27:14, 2008Ironically, our friend never saw us perform live in the 7 years of our existence.
This film was exhibited and performed live on the 26th of April 2008.
DirectorHugo OlimProducerPygarCrewMusic: João Ricardo (aka ocp)
CountryPortugalEdition2008
< overview
Who is Joao Ricardo?
A self taught sound artist with an interest in image.
Your film is about?
It’s a tribute to a late friend.
Nuno introduced me to Hugo Olim - the director - and we’ve been working together ever since. Oddly enough, Nuno never saw us perform live as Pygar.
How did you start with film? And do you have an educational background in art or film?
We - Hugo and I - started back in 2001 with a video clip called "fish music". Hugo had some footage with fish and wanted to make a video out of it. We joined one night and went from start to finish, editing the footage, making the soundtrack, and by morning it was done! The video won a small prize in a festival and that was the sign we needed to keep going at it.
Hugo’s educational background lies in photography and video while I’m basically self taught.
Could you explain how you work, what themes or concepts and what is important to you?
Due to geographical circumstances we mainly work through the internet. We discuss ideas/concepts, techniques, share some drafts, etc.
When we have to perform live it’s mostly improvised.
Where do you get your ideas or influences from?
I like textures/patterns which are all around.
How does the title relate to the work, and how do you find a fitting title?
It’s the name and life span of our friend.
How does content relate to the form of your work?
Hugo has been developing this live film technique.
He puts selected images on film which are then converted and processed in real time.
How important is sound in film, and if you use sounds, do you create your own or use existing?
To me sound is what gives film impact. Sound sets the mood.
I do create my own sound/music from scratch.
How do you finance your projects (by yourself, sponsors or subsidy)?
It comes all out of our pockets, which dictates the "size" of the production in a way but gives you all the freedom (within those financial limitations) to create as you wish. Of course, we’re always open to other forms of financing, it just hasn’t happened (yet).
Nowadays everyone with the right equipment can create videoart, good, bad or ugly?
It’s not about the gear but about what you do with it. If it means something to someone then it’s relevant, it has it’s place, be it good or bad. How would we know what’s good if there was no bad?
What possibilities of the web are yet to be explored? Which dangers do you see ahead?
I like the idea of live streams. It might be a while before good sound and image are a reality in this domain but it’s out there and it has a future. As for dangers, there’s the lack of privacy and the conformity to a standard. All our moves are being watched and analyzed not always with the best intents in mind.
Video broadcasting platforms on the internet, why or why not?
I’m all for it as long as there are broadband connections and servers to match.
In what category would you place your work; cinema or art. And is there a difference between those?
Art. Art is a broader concept in which cinema fits.
How important is the reaction to your film by the audience?
Feedback is what keeps many of us going. It’s important for the evolution of both artist and audience.
What is your next project about?
We’ll be working on the stuff we’ve used in our last live performance.
It’s our way of moving on.
Live gig, editing, making it available, thinking about the next gig, and so on...
< overview
< Artists interviews
CountryPortugalEdition2008
< overview
Interview
A self taught sound artist with an interest in image.
Your film is about?
It’s a tribute to a late friend.
Nuno introduced me to Hugo Olim - the director - and we’ve been working together ever since. Oddly enough, Nuno never saw us perform live as Pygar.
How did you start with film? And do you have an educational background in art or film?
We - Hugo and I - started back in 2001 with a video clip called "fish music". Hugo had some footage with fish and wanted to make a video out of it. We joined one night and went from start to finish, editing the footage, making the soundtrack, and by morning it was done! The video won a small prize in a festival and that was the sign we needed to keep going at it.
Hugo’s educational background lies in photography and video while I’m basically self taught.
Could you explain how you work, what themes or concepts and what is important to you?
Due to geographical circumstances we mainly work through the internet. We discuss ideas/concepts, techniques, share some drafts, etc.
When we have to perform live it’s mostly improvised.
Where do you get your ideas or influences from?
I like textures/patterns which are all around.
How does the title relate to the work, and how do you find a fitting title?
It’s the name and life span of our friend.
How does content relate to the form of your work?
Hugo has been developing this live film technique.
He puts selected images on film which are then converted and processed in real time.
How important is sound in film, and if you use sounds, do you create your own or use existing?
To me sound is what gives film impact. Sound sets the mood.
I do create my own sound/music from scratch.
How do you finance your projects (by yourself, sponsors or subsidy)?
It comes all out of our pockets, which dictates the "size" of the production in a way but gives you all the freedom (within those financial limitations) to create as you wish. Of course, we’re always open to other forms of financing, it just hasn’t happened (yet).
Nowadays everyone with the right equipment can create videoart, good, bad or ugly?
It’s not about the gear but about what you do with it. If it means something to someone then it’s relevant, it has it’s place, be it good or bad. How would we know what’s good if there was no bad?
What possibilities of the web are yet to be explored? Which dangers do you see ahead?
I like the idea of live streams. It might be a while before good sound and image are a reality in this domain but it’s out there and it has a future. As for dangers, there’s the lack of privacy and the conformity to a standard. All our moves are being watched and analyzed not always with the best intents in mind.
Video broadcasting platforms on the internet, why or why not?
I’m all for it as long as there are broadband connections and servers to match.
In what category would you place your work; cinema or art. And is there a difference between those?
Art. Art is a broader concept in which cinema fits.
How important is the reaction to your film by the audience?
Feedback is what keeps many of us going. It’s important for the evolution of both artist and audience.
What is your next project about?
We’ll be working on the stuff we’ve used in our last live performance.
It’s our way of moving on.
Live gig, editing, making it available, thinking about the next gig, and so on...
< overview
