{"id":247,"date":"2008-02-10T12:24:04","date_gmt":"2008-02-10T17:24:04","guid":{"rendered":"http:\/\/www.edrants.com\/segundo\/eran-kolirin-bss-176\/"},"modified":"2012-02-25T20:24:04","modified_gmt":"2012-02-26T01:24:04","slug":"eran-kolirin-bss-176","status":"publish","type":"post","link":"http:\/\/www.edrants.com\/segundo\/eran-kolirin-bss-176\/","title":{"rendered":"Eran Kolirin (BSS #176)"},"content":{"rendered":"<p>Eran Kolirin is the writer and director of <i>The Band&#8217;s Visit<\/i>, now playing in theaters.<\/p>\n<p><img src='http:\/\/www.edrants.com\/segundo\/wp-content\/uploads\/2008\/02\/kolirin.jpg' alt='kolirin.jpg' align=\"center\" \/><\/p>\n<div class=\"powerpress_player\" id=\"powerpress_player_2746\"><!--[if lt IE 9]><script>document.createElement('audio');<\/script><![endif]-->\n<audio class=\"wp-audio-shortcode\" id=\"audio-247-1\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"http:\/\/www.edrants.com\/_mp3\/segundo176.mp3?_=1\" \/><a href=\"http:\/\/www.edrants.com\/_mp3\/segundo176.mp3\">http:\/\/www.edrants.com\/_mp3\/segundo176.mp3<\/a><\/audio><\/div><p class=\"powerpress_links powerpress_links_mp3\">Listen: <a href=\"http:\/\/www.edrants.com\/_mp3\/segundo176.mp3\" class=\"powerpress_link_pinw\" target=\"_blank\" title=\"Play in new window\" onclick=\"return powerpress_pinw('http:\/\/www.edrants.com\/segundo\/?powerpress_pinw=247-podcast');\" rel=\"nofollow\">Play in new window<\/a> | <a href=\"http:\/\/www.edrants.com\/_mp3\/segundo176.mp3\" class=\"powerpress_link_d\" title=\"Download\" rel=\"nofollow\" download=\"segundo176.mp3\">Download<\/a> (Running Time: 21:15 &#8212; 19.5MB)<\/p>\n<p><b>Condition of Mr. Segundo:<\/b> Contending with the inflexible language demands of the Academy.<\/p>\n<p><b>Guest:<\/b> <a href=\"http:\/\/www.imdb.com\/name\/nm0464115\/\">Eran Kolirin<\/a><\/p>\n<p><b>Subjects Discussed:<\/b> Using a great deal of static shots, Antonioni, the influence of comic books, creating a cinematic fable, contending with too many extras in a shot, the story behind the film&#8217;s most striking long take, working within a fixed frame, how sound conveys the feel of a location more effectively than visuals, the technical aspects of topography, the relationship between political and personal choice, approaching a girl with the pickup line &#8220;Do you like Chet Baker?,&#8221; ice skating rinks in Israel, police orchestras, the curves of the hats, epaulets, designing the band&#8217;s costumes, and the visual use of mirrors and identity crisis.<\/p>\n<p><b>EXCERPT FROM SHOW:<\/b><\/p>\n<p><b>Correspondent:<\/b> But I wanted to also ask about the most striking shot, I think. The moment where you have the three figures, of course.  You have the ladies&#8217; man essentially suggesting to Papi, who claims that there&#8217;s sea in his ears and who is just completely incompetent when it comes to women.  And you essentially have over the course of this shot &#8212; which never moves, this three minute shot, maybe four minutes &#8212; where he&#8217;s basically instructing him on what to do.  You know, he takes a flask of alcohol out.  This is very much something that is essentially stripped down to its basic elements.  And I&#8217;m curious about this.  Was this really the only way to depict this particular area&#8230;?<\/p>\n<p><b>Kolirin:<\/b> No, you see, a lot of things, they evolve over the course.  To begin with, we had the more complex shooting for this scene.  I had several shots to break this thing down.  And I knew that it was a very important scene in the movie and had to get this scene.  But we started shooting it.  And we do one take.  And we didn&#8217;t have a lot of material. We ran out of film stock.  And I look at my photographer Shai [Goldman] and he looks at me.  And we say, &#8220;Let&#8217;s be sure to have this one shot work.&#8221;  Because we don&#8217;t have the time, not the money, to have the other shots.  So we have this.  And this shot should work.  So let&#8217;s now concentrate on only this shot.  So we kick out all the rest of the alternative shots. We stay with that shot. You know, it&#8217;s also one of those things that you know when you shoot them, you have to make it one take.  Because otherwise you&#8217;ll cut it along the way.  <\/p>\n<div class=\"powerpress_player\" id=\"powerpress_player_2747\"><audio class=\"wp-audio-shortcode\" id=\"audio-247-2\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"http:\/\/www.edrants.com\/_mp3\/segundo176.mp3?_=2\" \/><a href=\"http:\/\/www.edrants.com\/_mp3\/segundo176.mp3\">http:\/\/www.edrants.com\/_mp3\/segundo176.mp3<\/a><\/audio><\/div><p class=\"powerpress_links powerpress_links_mp3\">Listen: <a href=\"http:\/\/www.edrants.com\/_mp3\/segundo176.mp3\" class=\"powerpress_link_pinw\" target=\"_blank\" title=\"Play in new window\" onclick=\"return powerpress_pinw('http:\/\/www.edrants.com\/segundo\/?powerpress_pinw=247-podcast');\" rel=\"nofollow\">Play in new window<\/a> | <a href=\"http:\/\/www.edrants.com\/_mp3\/segundo176.mp3\" class=\"powerpress_link_d\" title=\"Download\" rel=\"nofollow\" download=\"segundo176.mp3\">Download<\/a> (Running Time: 21:15 &#8212; 19.5MB)<\/p>","protected":false},"excerpt":{"rendered":"<p>Eran Kolirin is the writer and director of The Band&#8217;s Visit, now playing in theaters. Condition of Mr. Segundo: Contending with the inflexible language demands of the Academy. Guest: Eran Kolirin Subjects Discussed: Using a great deal of static shots, Antonioni, the influence of comic books, creating a cinematic fable, contending with too many extras [&hellip;]<\/p>\n<div class=\"powerpress_player\" id=\"powerpress_player_2748\"><audio class=\"wp-audio-shortcode\" id=\"audio-247-3\" preload=\"none\" style=\"width: 100%;\" controls=\"controls\"><source type=\"audio\/mpeg\" src=\"http:\/\/www.edrants.com\/_mp3\/segundo176.mp3?_=3\" \/><a href=\"http:\/\/www.edrants.com\/_mp3\/segundo176.mp3\">http:\/\/www.edrants.com\/_mp3\/segundo176.mp3<\/a><\/audio><\/div><p class=\"powerpress_links powerpress_links_mp3\">Listen: <a href=\"http:\/\/www.edrants.com\/_mp3\/segundo176.mp3\" class=\"powerpress_link_pinw\" target=\"_blank\" title=\"Play in new window\" onclick=\"return powerpress_pinw('http:\/\/www.edrants.com\/segundo\/?powerpress_pinw=247-podcast');\" rel=\"nofollow\">Play in new window<\/a> | <a href=\"http:\/\/www.edrants.com\/_mp3\/segundo176.mp3\" class=\"powerpress_link_d\" title=\"Download\" rel=\"nofollow\" download=\"segundo176.mp3\">Download<\/a> (Running Time: 21:15 &#8212; 19.5MB)<\/p>","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[1085],"tags":[166,163,165,9,168,164,167],"_links":{"self":[{"href":"http:\/\/www.edrants.com\/segundo\/wp-json\/wp\/v2\/posts\/247"}],"collection":[{"href":"http:\/\/www.edrants.com\/segundo\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/www.edrants.com\/segundo\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/www.edrants.com\/segundo\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/www.edrants.com\/segundo\/wp-json\/wp\/v2\/comments?post=247"}],"version-history":[{"count":3,"href":"http:\/\/www.edrants.com\/segundo\/wp-json\/wp\/v2\/posts\/247\/revisions"}],"predecessor-version":[{"id":2355,"href":"http:\/\/www.edrants.com\/segundo\/wp-json\/wp\/v2\/posts\/247\/revisions\/2355"}],"wp:attachment":[{"href":"http:\/\/www.edrants.com\/segundo\/wp-json\/wp\/v2\/media?parent=247"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/www.edrants.com\/segundo\/wp-json\/wp\/v2\/categories?post=247"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/www.edrants.com\/segundo\/wp-json\/wp\/v2\/tags?post=247"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}