I like to make interviews walking, because I film walking, I think it's nice, people should learn how to not use a tripod.
I love cities, I really love cities and what they tell us about the human condition, you know, and what they tell us about how society is evolving against it.
How do we treat our history, our culture, how do we rebuild stuff, how do we conserve, how do we just let it go?
I think it's a fantastic world to be curious, there are so many things to explore and that's just, I just always wanted, like many people I think I cannot really do something twice.
So after making so many films about rock music and living in Paris and so on, I felt the need to do something else, you know, but to not change from this to that.
Just to walk somewhere else, you know, and when you walk, you have many ideas coming, it's great, I love walking.
So I just wanted to walk around the world for a little while and that's why I got interested in other music, you know, in the way people live.
Realising how much music, what music really means in terms of living together, you know, how people gather around music since the most ancient times in a way.
But how music is never at the centre of attention at some time, how music is part of something else, which is also food, drinks, celebration and relationship to nature in a way.
And how music songs can be like this way to harmonise everything.
Old Trim Time songs, the song made people, I wasn't born then, but when we were a kid in the cattle in the price station, lots of everybody to me were working for the boss.
And they were happy making songs every night, caribbean dancing, not with guitar, not rock and roll, with boomerang in that day.
Old songs, very old songs, very sad to sing that. All people were born with these songs.
I really think that you make, you make and you trust your instinct to make things. I was making lots of films about musicians and each film was like a little experiment in a way, you know.
And I didn't really know why I was doing this or accept having fun and accept spending good time with my favourite artist.
But then after making you really start to think much more deeply about the process and that makes some, then it makes really sense, it's really nice, it's really wonderful thing.
I just realised that, I don't know, that's really my personal view on life, but I really think that if you follow your instinct, yes everything is going to be fine, everything is going to be okay.
So I think I'm just like trying to be as respectful to life as possible in what I was doing by not preparing my films for example, by doing everything like very improvised on the spot.
It was the most respectful way I could make films in a sense that I do not direct.
I believe in myself, I believe in the cause and I believe in the effect. I do believe.
So I think that's also something I try to think a lot nowadays, it's like how important that recording is, you know.
And you should really try to focus on the people who are not really recorded, do not have that voice.
That's why then after filming so many rock and pop musicians, I was just like, this is enough you know, they don't need another video and stuff like that.
So I went to film some people who are not, who are never recorded before, especially old people. I ended up filming a lot of old people.
I spent some time here in Chechnya to record, I didn't know what I wanted to record actually but I heard about some Sufi rituals, Sufism, the mystical part of Islam.
So when I was there, I made five films on different rituals and they were all extremely powerful, very powerful.
And I don't know if it's very integrated, I'm not Muslim but I completely connect with the energy of the people.
And when I am there in such a ritual, well, I am there, I am really with them, I'm really part of the ritual, you know.
I will tend to dance also along and even if I have a camera, it doesn't really change much.
And people tend to forget that you are here filming or just accept you, just really deeply allow you to be there together in this prayer.
So I think that it's not because you don't know exactly all the aspects of this or that religion or this or that ritual that you cannot be part of it, you know.
It's actually truly a thing that with a certain innocence allows you to be with the people, you know.
And if you know a little bit more, it might create a distance.
There's not that much difference between in the middle of that crowd in the ritual in Chechnya or being in the middle of a crowd in a punk concert, you know.
There is basically a very strong exchange of energies and I think in those moments of communion, really, where this community gather and gets together,
there is this really beautiful moment where ecstatic dissolution of the ego, but actually it's something you could definitely apply to much of those rituals, you know.
And in your sense, you know, a pogo in a punk concert, everybody is jumping around, has something very similar also to that.
Ah.
Coming.
This is one of the best images of Poto, this, Senor d'Aboire fortune, no?
It's one of the most nicest photos I've seen.
Wonderful, isn't it?
And then when you go there...
Very nice photos, don't you think?
This? Just that? So nice.
Very nice to think that just some place seems still stuck in time.
Even though I think that everything is moving all the time, but...
It's very nice to see that it's just like this is there and it's been there for a long time.
It might be there for quite a long time again, you know?
These are traces of life, no?
This is our history.
This is yours.
Because, yeah, when you're in New Brazil...
I love to talk about the Russian culture,
because it's such an incredible culture and really, really a culture that people do not understand at all.
Because we sent in to see such a bad, it has such a bad image.
And the Russian tourists give such a bad image of its country.
But if you go to Russia, this is a really another story.
And people are incredible, extremely intelligent, extremely cultivated, educated,
and this beautiful melancholy of the core,
which I think, yeah, that really reminds me of what I feel in Portugal, maybe, you know?
I hate to film an ending.
For me, there is no ending.
But in some of my films like this, on rituals or on stuff, I live before the end,
because things should not end, you know?
So I live, and I just keep in mind the fact that it's still on, you know?
And it still goes on.
I was traveling around South America, it was long time ago.
It was four years ago.
And it was my first time in Buenos Aires, I just had a few contacts beforehand.
And so I decided, when I arrived in town, I decided to spend one week researching on music,
one week filming the bands I would find, you know?
I made eight films, I think.
I was researching, you know, it was very intense, the first week.
And during that first week, one night, I ended up in a house, in a little house,
where Tommy Ibrero and his band were playing.
And I got wasted.
I got extremely drunk.
And all I could remember was that the next morning, there was this melody I had in mind.
And then I tried to prove my brain working again,
and asked my friend who was this guy, and then I found this contact and asked him to make a film, you know?
I'm going for trials and fields of honey.
I have a shadow that is crowned.
I just, I forgot everything, but I knew that, I trust my instincts,
and I knew that that song was, yes, I had to film that song.
And I love to make films like that, you know?
Just like following things like that, following weird ideas and stuff.
There is many drunk ideas in my films, not only, thanks.
But a lot of those decisions were made in another state of consciousness, in a way, stuff like that, you know?
And it's fun, because it's a game, and you have to play the game.
Because again, there is no money involved, there is no producer behind,
there is nobody waiting for something.
So you can only have a good time, you know?
There is no need to make this perfect.
So let's make it with fun, you know?
Let's have pleasure making it.
When I finished this film, I've been showing it all around the world to many, many people,
but nobody ever told me, at least, or maybe nobody ever witnessed,
that you see me in a film. You see me?
You don't know.
You see me, it's like very obvious, actually, at some point, because I turn like this,
and then when I turn at some point, I just film myself in front of a mirror,
and I pass, and nobody saw that.
Yeah.
Yeah.
Yeah.
Yeah.
Can she walk like that?
