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Interview with Lars
Henrik Gass, the Festival Director of International Short Film
Festival Oberhausen
A Short Film Has to be Seen
Born 1965 in Kaiserslautern, Germany, Lars Henrik Gass has been
director of International Short Film Festival, since 1997. He
studied literature and drama as well as philosophy, and wrote his
thesis over the French authoress Marguerite Duras (the localless
Cinema). From 1996 to 1997, he was managing director of European
institute for documentary film in Muelheim at the Ruhr. He also has
written numerous articles and essays about photography and
documentary films. In addition, Henrik Gass is a jury member of
German short film (animation and documentary film). He is in Iran to
attend Tehran Film Festival, and to meet Iranian filmmakers, as well
as producers.
As one of the most important short film festivals, what is the aim
of Oberhausen Film Festival?
The first and important thing for us is to provide a platform for
creative filmmakers. Every year, thousands short films produce in
the world. What we have liked to do in International Short Film
Festival Oberhausen is to give the chance to creative individuals to
be recognized.
Since Short Film Festival Oberhausen has launched, we have seen many
changes in short film category. Some believe that short film served
as a launch pad for them to do feature film, and some say that it is
independent. What is your perception about these changes?
I would say for sure that many great filmmakers would like to do
short film, because it is inexpensive, and it is also lets the
filmmaker to be independent. I know directors who have only made
short films in whole life and approaches to it as an artistic work.
Is the return of investment is possible for a short film?
There is a little chance for a short film to return the money,
because there are a few distributors who work in this category. I
think there are two options. A filmmaker makes a film, only just
because wants to do a film, or makes a film with aim of showing it
in film festivals. In either situation, the filmmaker should not
care so much about earnings.
Short films usually screen in places like museums or cinema theque,
which is a common problem. Do you think we must consider the
specific theatres to screen short films?
It is a good idea, but in this case, you should not think
commercially. You should admit that a short film is a way to
communicate with others and it is a new language. A short film has
to be seen. It does not make any difference, where it takes place.
Do you think that governments and social foundations should support
short film financially?
It is better for governments to support short filmmakers, because,
they are the nation’s representative.
How do you fund Oberhausen Film Festival?
The government finance about 90 percent, and the rest is financed by
ticket selling and advertising.
What has Oberhausen Film Festival done to become a prominent film
festival?
It goes back to 50s, 60s, and Cold War era. At that time, screening
films, which were producing in socialist countries, was prohibited
in European countries. Meanwhile, the Oberhausen Film Festival was
the only place, which showed these films. The member of boatd of the
directors at the festival were so open-minded.
What do you do for festival to keep it updated and vital?
We kept that policy. We are still the only film festival in the
world, which shows films in any formats. Our policy is to let all
films entering the festival.
Who are the primary policy-makers of the festival? Could the
government, journalists, filmmakers, or distributors interfere in
organizing the festival?
Generally, no specific group has a role in policy-making of the
festival. A group of 12, which most are directors, selects the
films.
Have all the films submitted to festival, or you might present a
films that you have already selected from film markets or film
festivals?
We do both ways. Because we believe that, short filmmakers change
constantly, so we have to go and find the good short films. Short
film advertising is not what has done for feature films. Therefore,
we should find good films ourselves. One of our problems is most
filmmakers are not familiar with other languages. Although our the
entry forms form of our festival in four languages, most filmmakers
cannot fill out the forms.
It sees that are many films which submitted to your festival, what
do you answer to the directors whose films have not been selected?
I know a short film is backed up by a crew, which is waiting eagerly
to see if its film selects to screen in the festival. Sometimes we
cannot do this because of our limitations. In this situation, we
have launched a film market in which all submitted films would be
present. Through film market, all the films get the chance to be
invited to other film festivals or to be bought by T.V. channels.
You know, the film selection is sensory. It is not right to say a,
which not selected at Oberhausen Film Festival, is a bad films.
Do you mean there is no standard for selecting the films? Is it a
matter of taste?
Yes, it is. There are about 1500 short film festivals all over the
world, so there are various points of view.
Is there any competition between Oberhausen Film Festival and other
festivals in Germany like Berlin Film Festival?
You cannot compare these two festivals together, because Berlin Film
Festival screen feature films, and short film is only one of
sections of the festival. In last edition, we screened 400 short
films, among them 100 were presented in competition, while in Berlin
Film Festival only seven films were screened in competition.
What is important for you, technology, or thought? Do you think that
technology development could be act as a obstacle for idea?
When digital camera released into the market, everyone rushed into,
because it was low-priced. As the result, some bad films were made.
In the meanwhile, some there were some good ideas. Therefore, you
could not say for sure that technology sets a hurdle against the
idea.
Do you pursue any specific goal like human rights, dialogue among
civilizations, cultural capital city and competition with the
Hollywood films in Oberhausen Film Festival?
According to a European Film Festivals law, 70 percent of films
participating in a film festival should be European, which in my
opinion is a wrong policy. Because we have not accepted this law, we
could not expect anything from European union, so we try hard to
accept films from all over the world.
Do you think it is a good idea to recommend a filmmaker to make a
films based on a certain subject?
We have no recommended film in competition section. Because we
believe this is against a filmmaker’s creative power.
Is there any relation between Oberhausen Film Festival and Tehran
Film Festival? What is your idea about this festival?
There is a live and dynamic relation between us. Maybe it is because
of Mr. Dezvareh, Head of international relations of Iranian Young
Cinema Society), who is very well- known in Oberhausen Film
Festival. It is my first trip to Iran, so it is too early to judge,
but we have screened many Iranian films in our festival.
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