Brede Hovland • Motlys
Producers on the move 2012 - Norvegia
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When Norwegian producer Brede Hovland was 13 years old, his aunt asked him what he wanted to be when he grew up. “Film producer,” I answered, “without really knowing what it was all about. But I always liked putting things together, organizing events, so I think it was only natural it ended up like this. I kept my word.”
A graduate from Columbia College Chicago’s Film & Video Department, Hovland has since 2006 worked for Norwegian producer Sigve Endresen’s Motlys AS. “We have a saying here, ‘Once you enter this door you will never leave.’ And I am still there,” explained Hovland, who has so far produced three features and a television series.
Rune Denstad Langlo’s North [+leggi anche:
intervista: Rune Denstad Langlo
scheda film] won for Best New Narrative Filmmaker at New York’s Tribeca in 2009, and two years later Jannicke Systad Jacobsen’s Turn Me On, Goddammit! [+leggi anche:
intervista: Jannicke Systad Jacobsen
scheda film] was awarded for Best Script in the festival’s World Narrative Competition. Hovland also signed Aleksander Eik’s Cold Feet [+leggi anche:
scheda film] (2006) and Geir Henning Hopland’s TV series, Buzz Aldrin (2010).
Cineuropa: You produced Langlo’s first film, and will also collaborate on his next. You know each other?
Brede Hovland: Rune and I grew up together in Trondheim, we went to the same school and even played in the school band together. The story of his North is set on the slope, where we both learned to ski, and where we spent our free time when we were children. The film ended up being very personal for both of us. I believe Rune and I have similar taste in storytelling, and I hope we will collaborate on a lot of films in the future. So far we have also made a couple of documentaries, and now we are preparing Chasing the Wind, his new feature, which is not a North sequel, but is also based on his personal experiences.
How did you become involved in Turn Me On, Goddammit!?
The director approached me with the project, after it had stranded with another company. It was very close to Olaug Nilssen’s novel, and during development we decided to leave the multi-plot story and concentrate on the girl, Alma. Still we were worried whether we would find young amateurs for the roles in this off-beat comedy on teen sexuality – and would their parents let them do it? But we were put to shame: they did an amazing job with their parents’ support. I think the film filled a void –it was told by a young girl who was horny and had an active fantasy that matched her libido which has not been seen that often before.
How do you work with the directors?
I see filmmaking as a process of collaboration, not so much when it comes to financing and marketing. When it comes to the shot-list I want it as detailed as possible, both the to give the team a realistic schedule, but also space for improvisation during the scenes, which often results in changes for the better.
In recent years Norwegian films have started to profile itself worldwide. What has happened?
I think Norwegian filmmaking has been through a change of generations. New talent is the one big new element which has transformed our film industry over the last few years, and I am sure this shift will continue to further advance our storytelling to a higher level.
What’s on now – and what’s next on your agenda?
Last month we completed filming Hanne Myren's feature debut, Jealousy, and we are busy editing her first film after her Girls documentary. We are about to start principal photography Langlo's Chasing the Wind later this month (May), and I am participating with a project, Permafrost, at this year's European Producers Workshop EAVE.
Producers on the move is an initiative of the EUROPEAN FILM PROMOTION
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