Daughter of Chrome Hearts’ founders, Jesse Jo Stark leads a young rock life. Venice Lau talks to her on music and fashion. Continue reading WEgether: Jesse Jo Stark
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WEgether: Anurag Basu
When it comes to Indian movies, Bollywood songs and dances are definitely what pop up in people’s mind. “In India, music is part of our culture.” Yes, I still remember the first time my eyes met an Indian movie, Three Idiots – a vivid production with of endless dances and strong rhythms; and that movie says the same. Indian movies, however, are more than dancing and singing, Anurag Basu, the director of Barfi! – last year’s international blockbuster explains, “Bollywood is so much bigger than that. Indian movies are very broad. There are so many languages in the cinema. They are so unique that you have to taste it slowly.”
Parented by theatre artists, Basu grew up amidst the entertainment world; the influence of the upbringing on him is inevitable. Devoted their lives to the stage, Basu’s parents were keenly aware of all the dark sides of Indian cinema, and hence expressed discouragement when Basu, inspired by his father’s passion for movies, wanted to follow their craft. “I love what he does, I really love it.” He never dared to tell his parents his choice of career, which back then was nothing more than a hidden desire. As he waved farewell to school life, he decided to follow his heart and chase the dream.
His first take was Kucch Yo Hai (Something is there, 2003), yet in the middle of the production he left and let Anil V. Kumar took charge as the director. A remake of the Hollywood Horror I Know What You Did Last Summer, the romantic horror film was inspired by 1998 production Urban Legends. For it a massive promotional plan was launched and the box office was positive in debut – yet it failed commercially. Critic Taran Adarsh gave it a harsh comment: ‘A poor copy of the Hollywood flick I Know What You Did Last Summer, Kucch To Hai offers nothing much except a few chills and thrills’. Basu joined Vishesh Films where he directed his next three movies. Saaya‘s the box office fell short and was criticised for having a loose screenplay. “No, I was not giving up.” The road never seemed to be easy, but he never thought of going back. “I was not producing any of them. I directed them. The other thing was the company had faith on me.” His faith and passion motivated him to move forward and follow what he enjoyed to do.
When the question came to his career turning point, “the time when I got cancer” was all that shocked my ears. In 2004, when Basu was halfway through his film Tumsa Nahin Dekha, he was diagnosed with Leukemia and had to be immediately hospitalised. His doctor told him that he only had two more months to live. Though clouded by despair, Basu did not give up on his movie. For some time he even remote-directed the film on the hospital bed by giving instructions and discussing all technical issues and the scripts with his crew over the phone. “Now I am okay, don’t worry. But I consider being sick as my turning point here.”
After recovering, Basu decided to shoot with a different style and to create a different texture for his movies. He started to dig in themes of dark passion and adultery, which led him success. The 2004 thriller Murder triumphed at several leading award ceremonies by winning the Award for Technical Excellence – Best Song Recording, the Popular Award – Best Lyricist from the Awards of the International Indian Film Academy, the Filmfare Award – Beset Playback Singer – Male and R.D. Burman Award from Filmfare Wards. Life in a Metro (2007) got another 8 awards and 12 nominations.
When Kites, a 2010 romance film, hit the silver screen, it was the largest Bollywood release in North America to that time, and Kevin Thomas, film critic of the LA Times, commented: “In its telling, the love story draws from westerns, musicals, film noir, chase thrillers with stunts so preposterous they verge on parody — and it gets away with everything because of Basu’s visual bravura and unstinting passion and energy.”
Barfi!, the latest film of Basu, opened with plentiful positive reviews. It was also well received at Busaan Film Festival 2012. Good news come in pairs, it was also named India’s official entry to the Oscars. It registered a powerful box office collection in its opening week by earning Rs. 58.6 crore. It is undoubtedly a milestone of Basu’s career. Nevertheless, he never expected such an international wow. “No, I never really thought about earning money. I have no idea why all these happened either.” Barfi!‘s success comes from his passion, believing what he did was the right thing to do.
Basu’s movies are highly acclaimed to be different from all other traditional Bollywood ones, yet, this Indian film master said there was no secret behind the scene. In other way, everyone has the key on hand, it all depends on you, whether you are willing to spend it – time. “You have to spend time, spend a year, or even more. Do what you love, otherwise it’ll be boring. Enjoy making something different.” Of course, no fun if everybody’s doing the same thing. Someone ought to jump out of the zone, make changes and inspire. “I am part of the audience too, and I wouldn’t like to repeat myself. I make movies that I want to watch.”
Navigating multiple identities, such as film and television advertisement director, actor, screenwriter and producer, Basu feels comfortable in all the ways. If he has to pick one favourite, he loves the label of screenwriter most. “I love writing, I enjoy writing scripts a lot. I can truly reveal messages I want to tell.” In a market where personal interest outweighs the commercial market, “all kinds of movies are popular,” he comments. “We don’t have to think too much about the market. We don’t have to consider the commercial box office.”
From a green director to a famous and well-known director, Basu has come a very long way. No big secret behind his success but a life motto: inhaling life and exhaling cinema. “Be humble and love what you do.” so well said by this man, experienced failure but kept trying, trying so hard just to follow his heart and believe in himself.
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WE Q+A: Sandrine Pagnoux
Artwork Sandrine Pagnoux
Photography Sophie Etchart
When did you first begin creating works of art?
As a child, I felt that I needed a world of my own, to transport me out of the real world and out of the banality of everyday existence. I was a very shy and introverted child and I felt that I had to find a way to express myself in an other way than speech.
My first aspiration was to compose music and play guitar but I have absolutely no talent for it. So I started to spend a lot of time drawing and making handmade collages, placing all my feelings into these works.
I was also always very interested by fashion and photography. So, when I arrived in Paris at the age of 23, I started trying doing portraits and fashion photography but I soon realized it wasn’t my true passion. Professional photography was not a medium that suited me. The photograph is too dependent on too many people and I couldn’t express the visions in my head. It was frustrating. So I decided to put my efforts into what I did since I was teenager; using photographs with handcrafted elements like handwriting, paintings and drawings.
Now I know it was the right choice because I can express myself much better through my illustrations and drawings than in any other way. Illustration allows me to create new meaning and translate photographs into my own personal expression.
So after studying basic techniques in a graphic school and working intensively during a year on my own in self-taught, I’ve submitted my portfolio to magazines and advertising agencies and I started to get my first contracts in 2006. I also met a representative agent (Marie et Nous) who helped me to express my work better.
Did you study art anywhere?
I studied visual arts in a graphic school in Paris. I needed the aid of computer technology to create the digital collages I had in mind. So it was a must to gather the techniques that I did. But I quickly stopped attending the school after a few months, because I was afraid that learning too much could hinder my creativity, make me less spontaneous, and I’d never want to lose that. It’s very important for me to keep something really immediate and intuitive in my work. So I spent a lot of time working for myself, in a very personal way, searching my own techniques, using software’s in my own way. Photoshop and I having a very special relationship, we’re very close and very human. We’ve gotten to know each other well over time.
COPYRIGHT 2013 © SANDRINE PAGNOUX ALL RIGHTS RESERVED
COPYRIGHT 2013 © SANDRINE PAGNOUX ALL RIGHTS RESERVED
COPYRIGHT 2013 © SANDRINE PAGNOUX ALL RIGHTS RESERVED
COPYRIGHT 2013 © SANDRINE PAGNOUX ALL RIGHTS RESERVED
What medium do you prefer using?
My favorite medium is paper. I love the textures, the smell of ink. This is why I hope print magazines don’t disappear. I like to touch of them, to cut them, to tear them. I also love create visuals for clothing. One of my dreams would be to develop my own independent t-shirt brand.
Has your style evolved since then?
My style has evolved over the years but I think the basis, built during my childhood and my teenage years, remains the same. This entire imaginary world that I built myself, through dreams, they’ve stood for so long that they have become indestructible, unchangeable.
But my style has had to evolve with the world that changes around me, my inspirations changes, everything is moving, and my work is the reflection of who I am, of what I feel. I am constantly searching to explore different ways and techniques. Each commercial project pushes me in new directions and allows me to work on very diverse pieces.
What does your process of creating involve?
My process of creating depends on the project but I have always an image in my head first (it can be based on the brief when it’s commercial work), then I work until I have the global composition. I begin to refine the elements and colors. Then I collect everything I am able to find, and create the traditional handmade elements that I need. I work using Photoshop, transferring the images onto there to build my illustration adding elements, touch by touch, following my imaginative flow. I can spend a large amount of time to find the correct balance of elements or colour. I tried different angle. I add details and tone to the drawing until I feel that the image is completely balanced for my taste.
People and the human body seem to reoccur in your work, what do they represent?
Yes. People are essential in my work. When my work is based on photography I let the face dictate what happens. Faces, eyes and bodies obsess me.
People are the symbols of life. In my work they can appear fragile and vulnerable but I always try to show the force, which emerges from them. I just want to show people in their most vulnerable, powerful and magical state, to convey emotion. I love playing with their beauty.
Your work has a style that is reminiscent of Jean Michel Basquiat, has he influenced you in any way?
Oh. I love the work of Jean Michel Basquiat and yes, he is one of the artists who molded my perception of art. He probably influenced me a little, by his raw powerful style and his huge energy. This is what I try to transmit: a raw energy.
I love to use textured background and I often use multi-layered images with a lot of little details (including text, images, spontaneous drawings, symbols,) to build my illustrations.
But otherwise, I think what I express through my work is very different. My work is much less political, much more based on fashion. I havent lived in New York during the 70s /80s . I think thats a big difference.
My others influences are mostly expressionist paintings, and I love artists like Egon Schiele, my favorite painter. But I always leave the door open for new influences, usually they come from pop culture and stretch as far as classical art, to allow my self to be enriched. I like to spent my free time in bookstores learning more about painters and artists I’ve heard about. I read also a lot of arts, music and fashion magazines and I think, subconsciously, my works are filled with lots of very different influences.
Has your journey in life deeply influenced your creations?
My entire life has deeply influenced my creations. My work can’t be dissociated from my life. My artworks are the reflections of my mood. I find inspiration everywhere. So everything that is happening around me and in the world influences my creation. But what influences me most is the music I listen, they transports me into different worlds and emotions.
The colour palette you use is vast and flat, what does colour mean to you?
I think colors are the mirror of our moods. So I use different colors depending on my state of mind. I don’t’ forbid any color but I often have phases: pink, yellow, bright colors, or vintage shades, The use of colors just depends on how I feel and where I need to go. For the background, I use a lot either black or white or brown colors.
What does the colour black specifically mean to you and your works?
Black is essential for me. It’s in the dark that light is the most magicalFor me the dark is not scary, it’s even reassuring. Black color represents the night and then the fantasy, the dreams, the desires. A suspended time where anything is possible, where all is stronger, more intimate, more authentic. Night doesn’t lie. I like to wander the night to discover mysterious forms.
I have a stronger feel for black and white images. I like to play with shadows and contrasts to show the dark side and a lighter side of the world, the tragedy, the beauty, the violence and the magic of people.
Published in Issue 37 – Black
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