Young but experienced Chilean-Danish photographer Manuel Alberto Claro arrived in Havana for the second time, for sharing his experiences in the cinema in a workshop at the recently concluded ICAIC’s 2014 Young Sample. He has worked with important directors from different European countries since he graduated from Milan’s European Design Institute. He has been in charge of the photography of many ads, documentaries and full length films like Melancholia and Nymphomania, the latest films by renowned filmmaker Lars Von Trier. In his career he has received several awards like La Camara de Oro in Cannes and the first prize in Venice Film Festival, among others.
On his way out from the workshop, which he shared with his compatriot and documentary producer Pablo Insunza, he talked to OnCuba.
You are a Chilean photographer that studied in Milan and has worked in Europe and New York but you haven’t worked in Latin America yet. Do you prefer European cinema or you haven’t had the chance to work in Latin America?
The truth is I have had almost none working experience in Latin America. I was trained in Europe, the environment I have developed is mainly Danish; the Latin American influence came to me just recently. For Chileans, the fact that I’m also Chilean is something relatively new and the truth is I haven’t tried really hard to find such opportunities.I acknowledge I don’t know much about Latin American cinema but I have seen some things that have amazed me and I’m looking forward to work with this kind of cinema, like a couple Chilean films which are really good. Some of my favorite directors are Mexican as for instance, Carlos Reygadas; and in a few minutes I’m going to watch a film by Argentinean Lucrecia Martell. I’m really looking forward to find some work opportunities in Latin American.
How is Latin American cinema received in Denmark?
Latin American cinema is well received in Denmark. The movies screen films from all over the world, including Argentinean, Chilean, Mexican and Brazilian mostly. There is always something from Latin America.
And what’s the general opinion on this kind of filmography?
Latin American cinema is avant-garde, is a kind of cinema from its authors, which has contributed with tackling social issues. In general, opinions are favorable, but I don’t make any distinctions between European, Asian or Latin American films. There are good and bad movies, their place of origin is not that important; talent has nothing to do with geography, talent is human.
How much have you learned from Lars Von Trier?
One just realizes he is a genius. He is an amazing director and working with him is a unique experience.
The last thing we did was Nymphomania. As a professional and a photographer I have learned a lot from him because he is like the Mecca. Many things become clear when you have the chance to get involved in so strong projects like his.
How difficult is to get involved in his work dynamics?
It is easy though many people might think it is not. He masterly writes his scripts, which are very clear as well as his way of thinking and expressing his ideas. Lars masters techniques and knows how to get what he wants, he is very precise; he knows exactly what he wants and he transfers it to you in such a way that you get used to his way of working. You get used to what he likes; it is easier that way because he relatively sets his eye on his target.
Nymphomania is a complex and polemic film considering its topic. How did you face the challenge of photography for this film?
As I was saying, Lars is pretty clear and he knows how to get what he wants. When you work with him you have to commit seriously till the end. With him it is either everything or nothing. If you don’t commit seriously you better stay home. Everyone knows he is very polemic, that’s why I always say he is not for everybody. As a fan I’m always happy to be able to help him accomplish his vision. In this film we had a lot of complex sex scenes, which creates extravagant situations one is not used to. But everything is so clear and precise in the script that it was easy because everyone knew what their role was. We worked with professionalism and everything was always ok. The relation with the rest of the team was good, respectful, though sometimes we made jokes in order to relax a bit.
In your opinion, what is the essential element to make good photographs for the cinema?
I believe that in order to make good pictures or images there must be a subjective personal point of view and certain attractive. I always say a good image must be sexy, appealing, captivating in terms of texture, composition, colors or light. It must convey a passionate view that has an effect on its spectators, a physical attraction, that’s what I try to accomplish in every work.
Why did you decide to come to Cuba to conduct a workshop for young producers?
I had been in Cuba previously with a documentary project I was working on. I visited the International School of Cinema and Television (EICTV by its acronym in Spanish), where I participated in a similar workshop. I’m happy to be back. I received the proposal from the Chilean embassy in Cuba, they invited me and I agreed. I didn’t know ICAIC’s Young Sample existed but I feel I have a connection with the event.
What was the workshop about?
I love to talk about my work. It was basically to talk about my methods, my attitude towards the cinema and the world of actors. I’m not a teacher so pedagogically speaking I can only share my experiences, my practice and my methods. It was really interesting to be able to have this feedback from students.
What can you tell us about your immediate future plans?
Lars and I are planning on producing a video clip for the musical band Ramstein. When I return to Denmark I will start working until September for a television series for which my wife wrote the script, this is a small, intimate and familiar project.
Images: Gustavo Ávila
Author
Cecilia Crespo
