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Everyone knows New York City is not deserted. So why is it deserted?
Or is this kind of my internal projection onto the city?
Hi, I'm Holly Zausner. I'm an artist who makes films.
I live in Berlin and New York for many years.
Holly it's so great to see you here in Frankfurt!
Now you are showing your recent film "Unsettled Matter"
It's about New York or Manhattan we must say.
The whole film starts with a stunt where I'm in my studio
and I am, you know, working in this harness which of course is not the way I work in my studio,
connected by wires, right. And it is something real that I'm working on,
it was actually a very large collage that I was working on.
and in the end - ah - the wires break and I fall.
And you do not know whether I've been hurt and I'm unconscious or I'm dead.
And then we move into the deserted city.
And then I became also this kind of Film noir person in a trench coat with glasses, dark glasses.
So, yeah it creates a kind of mystery and we're kind of also back
in some sort of Hollywood cinematic moment
but it's no linear, no language, no dialogue.
Yeah, just these short scenes of these deserted iconic places
that have some content.
The most impressive I think is at the Broadway.
You are alone,
a black figure in the middle of the Broadway, it looks impossible.
Normally, we know the Broadway, it's full of cars and people running around very busy and
we never walk in the middle of the street, never.
I always believe in doing the most difficult scene the first day
which always people tell me is a huge mistake.
You have a new team you have to figure out.
But I always think it actually pulls everyone together
by actually doing the most difficult.
So that was an enormously difficult scene. All the stores were open,
hundreds of people were on the street. And although... how I created it was...
I contacted the television and film division
and explained to them the film and explained that it was an art film
and they gave me free police to close the streets on and off for four hours.
They had 40 kids with walkie-talkies stopping people from walking into the scene.
After four hours only one take worked.
- Wow!
There were always people and cars that escaped us.
So, but in the end I wanted it full sunlight, middle of the day.
Everyone knows New York City is not deserted. So why is it deserted?
Did something go wrong in the city?
Or is this kind of my internal projection onto the city?
Why did you choose Hatshepsut at the Metropolitan Museum?
Yeah, you know for me it was very difficult to figure out where in the Met I wanted to film
because every place is so great in the Met.
They don't have one bad room in the Met.
But the Egyptian wing has always been important for me since I was
a young artist and I like to work with sculpture and so Hatshepsut
was the most important Pharaoh and she was a woman dressed up as a man.
It was the height of Egyptian society. So that's interesting as we kind of struggle
to have women in power as we watched in their last election.
I looked at your films, I saw in every detail a kind of symbol. It is a developing artwork.
-Yes. -Every good work is a developing or open artwork.
Yes of course, every scene does have specific content.
Like in film forum, I very much was interested in filming "L'Avventura."
I knew it was coming up in six months at Film Forum.
-"L'Avventura", Antonioni! -Antonioni!
And also, you know initially, of course I know the film inside and out,
I own the DVD, I've watched it for a million times and initially I wanted...
I thought I wanted a specific scene.
And when they first showed it to me... yeah, I changed the scene that I wanted, right then and there.
I believe in actually a certain kind of finding magic moments.
And the magic moment at that time when I was sitting in the theater
was this one of the final scenes when you just see Monica Vitti crying.
That's it. She's alone, the face is large, she's in tears, her whole life has changed.
It's the complete idea of contemporary alienation and how one has to deal with, you know
our contemporary lives which are really so unstable and you have to be open to change.
So every scene has content for me.
You are very much into film history.
You always talk about films when we meet and you always...
Yeah that's like you know...
I didn't study film. I studied sculpture and painting and drawing and art history.
But always from a very young age I was very interested in cinema and I lived in
Paris and used to go to the Cinematheque.
and when I was in New York I would
always go to the cinema there and of course when I came to Germany I was well
I had already been involved with the German history of filmmaking so I was
completely obsessed about Fassbender vendors you know all of you know even
though mention on some talk we are very early 1923 silent films so my films are
also silent I'm interested in silent films I'm not completely so I know there
there is ambient sound that I create artificially in a sound studio
but I like it that the films are actually tell a story through visual
imagery you know one of my last second the film before this one is called
unseen and I named it unseen because a lot of things that have meaning or not
on the surface they're things that are underneath so a key book is a very
professional cameraman from Hollywood yeah yeah I had a very good camera woman
in Germany in Berlin JA Kapena moths who also was very good in New York I work
with Hollywood New York cinematographer muffle who work with mary harron who did
note we did notorious Bettie Page he worked with Phil Morrison where Hoffman
is very generous he looked at my films from Berlin and offered to work with me
for free on an offer a year to create this film and you know and he and I
agreed about meaning creating images that have content without having
dialogue so it's very important that the cinematographer is on the same path as I
am especially since I play a role in the film there has to be some level also of
trust so of course we do everything 40 times anyway so yeah the offense are how
long normally 10 minutes well some are 10 and a half minutes summer 16 minutes
it just depends on the
on what I need to actually create this nonlinear narrative that's I don't want
them longer than 20 minutes this was actually usually they're meant to be
seen in museums and galleries not so much in cinema and so and also they're
usually on a loop and so it's really I think about like Alfred Hitchcock always
thinks about his audience I think about what is good for my audience in terms of
looking at my films and I think too long of a film I lose my audience and I don't
tell a better story
you
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