For almost a year he went around with his lens, capturing the best poses of a nymphomaniac. Manuel Claro, under the direction of a colleague, was defining the frames of the story about a woman addicted to sex.
The director of photography in Melancholia (2012) and Nymphomania (2013), recent films of Lars Von Trier, is still delirious with a next adventure to realize a year after that experience … Meanwhile, he will teach along Pablo Insunza the workshop organized by the ICAIC’s Young Sample and the Embassy of Chile in Cuba, which emerged from a collaboration agreement signed by the Cuban Institute of Cinematographic Art and Industry (ICAIC) and the Cinematheque of this Andean country.
Although this training space is reserved only for those enrolled, the opportunity to attend a lecture given by Claro reaches all accredited.
Why travel to Cuba to deliver a lecture?
For me Cuba is a very special place. It is unique. Also because the political position it holds. Maybe I have a slightly romantic idea, no doubt there are many problems; but for me is fascinating and inspiring to be in a place that’s just different. I have come twice; the last time I visited the International School of Cinema along the Italian-Swedish director Erik Gandini, with whom I did Videocracy.
What will be the theme of the conference?
The conference will focus on how to be present as a visual author in a scene, documentary or fiction, so that it can transmit the necessary emotion. Also, I like to talk about my work, because in the meeting with colleagues one questions himself and the way to work. It is crucial to my development.
How much has Von Trier contributed to your views on photography for cinema?
Lars’s vision has always inspired me and surprised me. Part of his expression is about questioning the language of cinema and I think that’s why he shows new paths.
Working with such a particular director is a great privilege. In my case, I try to make his vision expressed the best possible way at photographic level. With Lars one realizes that there are no rules in photography film to achieve greater emotional strength.
What is the hardest thing when working with him?
There is nothing difficult about working with Lars. He is a director who knows what he wants and knows how to get it, so it is a simple and clear process.
And Nymphomania remains a controversial film…
Lars is not for everyone. When working for him, one does not worry about the naysayers. Fortunately, the number of followers is such that it is not necessary. This is only about solving Lars vision his own way and with fewer commitments.
So how would Manuel Claro define photography for cinema?
It is a form of expression that in the best case, it cannot be explained in words. It expresses what is happening between the lines and between the actors. It tells what is not obvious, rational or intellectual. It’s an emotional space … full of life.
The one receiving more recognition is the spectacular photography, period films or famous actors, disaster ones … However, in my opinion; what it is photographically difficult is to create a strong emotional presence in the everyday world.
Source: Cubacine / For Carlos Ríos
Author
Redacción OnCuba
