Director / DOP: Corina Andrian (Red-Cor)
Performers / Choreography: Mariana Gavriciuc, Beatrice Tudor
Music: Amatis Chifu
Production Assistant: Cristina Tudor
Release date: 2019
Performers / Choreography: Mariana Gavriciuc, Beatrice Tudor
Music: Amatis Chifu
Production Assistant: Cristina Tudor
Release date: 2019
ARTIST FILMMAKER Interview: RED-COR
Interview by Melissa Ramos recorded between Sydney, Australia & London, UK. 26 Jan 2020.
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Artist Filmmaker Corina Andrian aka. Red-Cor is an emerging award-winning conceptual filmmaker artist. In her films, Red-Cor invites viewers to participate and enter a densely visceral, subjectively sensory experience. Purposefully emphasising unusual movement compositions, shapes, and visual textures. Her professional dance background informs her dynamic approach to cinematography, while painting, acting, and film directing shape her chromatic and perceptive principles. Red-Cor continuously seeks to make the unseen tangible, reminding audiences their innate curious and playful nature.
IntervieW Transcript: RED-COR
Melissa Ramos: Welcome. Thank you for being here to talk about your work SOUP, and discuss your artistic process and what keeps you going. So firstly, how did the idea for the visual story come about in SOUP?
Red-Cor: So me and my friends Beatrice Tudor, Mariana Gavriciuc and our music composer Amatis Chifu. We've been coming together every year for the past three years to create a story with movement. Each film has a very unique story, but the case for SOUP was that it was driven by impulses. My impulses told me that I wanted to capture something neo-classical in contrast with very mundane situations. I'm obsessed with the charm of the ordinary, but nothing worked to our advantage in that these we had for filming. The lowest point saw us sitting on a pavement in the rain and just wondering what the hell we were doing. So we decided to record exactly what we felt. The isolation, alienation. We filmed most of it at our production assistant Cristina Tudur's house and we were all fighting some of our personal demons at the time too. I felt we were in a way mocking these demons. I remember we all had nightmares. Those three days we filmed and Beatrice was kicking me in her sleep like she was grunting over me. So our impulses became the need to record a feeling that was floating all around us and our bodies were the ones that were going to tell the story. I remember our way back from the last day of filming when we felt just like pieces of lead, thinking all we did was fail, but we realized upon seeing it in edit said that we learned so much about ourselves and our creation process.
Melissa Ramos: And you talked about the sort of types of impulses that you had, what were the kind of impulses that was driving certain areas in the shoot?
Red-Cor: I think every year we do a dance film. We want to tell a story about what we lived, what we went through that year. And for me, it started with, as I said, kind of like one or more neo-classical, more sets, holds more structure. But it ended up with me just wanting to capture the charm that my friends have, Mariana and Beatrice, because the way they become vulnerable, the way we all become vulnerable when we're together. For me is just very inspiring. So I thought I'll just follow them with a camera. Whatever they do when they wake up, when they go to the bathroom, when they shave their armpits. All the things that people might not find aesthetic for me. They're incredibly inspiring. So that's what we kept on doing for three days and while translating those actions into dance as well. But then you realize that as a dancer, many things you do in real life have these elements of movements and choreography, like, the way you open the fridge, the way you sit on and you point your toes when you make tea. That's things we do every day. So it's interesting to intersects dance with very mundane situations.
Melissa Ramos: I think that's what's fascinating, because not many people have that certain perspective in relation to dance. And also the mundane, but yeah, it looked quite fun as well.
Red-Cor: Yeah, it's always great to spend time together. We make it fun. We were all kind of dealing with some demons at the time. We all carry a baggage that we express through our arts, whether we like it or not. And in a way, it helps us exercise some of those demons at the time.
Melissa Ramos: Your work tells stories that are laden with subtexts as you were just talking about. You draw the viewer into densely visceral detours of pleasure. These worlds attest to the parallel realities inside your character's minds and often shown against the backdrop of domestic settings and their personal locations. What particular rhythm did you intend to carry for each character and their relationships?
Red-Cor: The rhythm had to do more with how we interact with each other on a daily basis, but also a lot of intimacy and how we all feel like sisters really. And it's so subtle. We didn't even realize we communicate like that until one night when we played mime with a non dancer and he couldn't see what we saw when we were shaking uncontrollably to the floor to imitate a jelly. Because we had a different language for communication, so Beatrice is very unpredictable and can just conquer you unexpectedly, like she can bite your nose off and you wouldn't even notice until later on. And Mariana is more calm. Her posture would tell you how she's feeling. If you bring them together, you get this sweet explosion of power levels, a rhythm almost like nagging. They provoke each other and they provoke them with my camera. The intimacy is the rhythm of the film's mood, and in moments of vulnerability, the camera captures everything unmistakably.
Melissa Ramos: The visceral experience between the viewer and your film occurs so fluidly, the memory of the experience endures as a powerful fragment of the real thing. Why is it important for you to heighten the fluid nature of the everyday?
Red-Cor: I find sources of poetry and inspiration from the most mundane. I think people need more pleasure in life and I like to point at the things which are pleasurable to me, in hopes that other people will see them. I have a short story to share. So this winter I was very sick. I was terribly sick with a flu and I made like 20 teas a day in the same kitchen. In this lodge that me and Beatrice lived in for three days while traveling in the mountains. And she comes to me and says, what a beautiful life this kitchen has. And it was incredibly ordinary. The light you get from your ventilation fan above the stove. And she insisted on it. You look at it, but you don't see it. So I went to the kitchen just to look at the light and it was so beautiful. And I felt like that was her gift to me, pointing to that moment in that space. And it was so beautiful and I didn't notice it before from the rush to make the camomile teas and collapse back into my sickness. And I'd like to think that, that's my gift to the world. Showing people what I look at and make them see in an essay on Story of the Eye. There's a quote I'd like to share. It said "one of the task's art has assumed is making forays into and taking up positions on the frontiers of consciousness, often very dangerous to the artist as a person. Often at the peril of their sanity that is of their humanity. And reporting back what's there". I think this last bit reporting backwards there is so significant to the way artists venture. And I feel like I venture. And these kind of like, doors and gates from reality. And I say mundane. But maybe the stuff that. Is mundane. It's actually extraordinary. And maybe, maybe they should be extraordinary, you know?
Melissa Ramos: You make it extraordinary.
Yeah, absolutely. And I think that's a beautiful part of being an artist, to remove all our conditions as humans, and refer back to our nature. That takes time for many people to do. We're always in this flow of action but we shouldn't be just being. And it's that window or moment that you have. Your work isn't just viewing it just like that. It's fleeting, which makes it more, more heightened because that's the way it moves. You can't grasp it. And that's important.
Red-Cor: Yeah. I think there was this really good quote from Bresson. And he was talking exactly about this, these incredible glimpses that we have in to this hidden bit of reality and that he was just afraid that he might not be able to capture it. And even if he did capture it, he might be able to see it. Maybe after the film, it's edited and he hopes it's still there. What he saw for the first time, it's fleeting. It's so fast. It's so vague. But you have to just watch out for them.
Melissa Ramos: And I think that's the best part that you can't grasp it. You've got to be awake to do it.
Red-Cor: And then also you just have to act like you're a mad person because you just have to keep obsessing over this fleeting thing. You sometimes see and you have to ignore what everyone else is saying. That's why I'm saying mad person. You just have to ignore what people say and just keep on doing the same thing until it kind of reaches a form or until it's noticed in some way.
Melissa Ramos: When I watch your dance films, what interests me is how your films seem to open up still spaces in some way as I would be into a photograph. It's like the viewer is lead inside the frame, intensified, but isn't directed to feel or think in a certain way. You let the space and the motion around speak for itself. How has your photography influence your decisions in composing your scenes?
Red-Cor: I think it's very interesting that I've been asked something similar before. I actually started filming before becoming interested in photography. And I think that my dance training has to do with the need to film and move rather than be still. I think the stillness comes from the way the impressions are photographed in my mind when I experience something. If I tried to visualize them now in my head, the impressions come to me as patches of colour and something dynamic which I then pieced together into films. I compose the scenes from a point of interest, and that can happen to be moving. But I like to observe the movement in stillness. Try to watch something that's very still and find a motion in that frame. There's always something moving. Always. One photographer I deeply admire is Duane Michaels, he's a surrealist photographer who has these incredibly dynamic surrealist photo series. And the dynamic aspect is given by the stories they carry about the subtlest elements of everyday life. It's similar to what Chris Marker did with his film La Jetée. It's like you become one of the narrators. You are so actively part of the story.
Melissa Ramos: How everything - there's a movement in every moment. I feel when I see your films, I feel like I'm traversing with you. It's like you're in a train carriage and you're looking outside. I'm not moving, but outside - I'm looking outside and it's moving. So I feel like I'm..
Red-Cor: Oh, that's interesting.
Melissa Ramos: Yeah, I feel like I'm in this still journey.
Red-Cor: Sometimes I like to have this voyeuristic. Point of view. Because lot of the things I put in my films is the way I experience reality, and that's how it's presented to me sometimes in my mind. Like I'm in the train and you don't know if you're train is moving. If the other train is moving, or both same time.
Melissa Ramos: Yeah.
Red-Cor: It's an interesting comparison you made. I like that.
Melissa Ramos: Yeah, I love travelling and I feel when I travel the walls of your interior and the exterior world blur. And then you're moving in such emotion and high senses - your perception changes. And that's how I feel when I look at your work. I feel like I'm breaking down those walls between my interior and then the exterior when you travel.
Red-Cor: As you say, everyone sees something differently because of their personal experiences. And I find it interesting that. Actually haven't stopped and just gathered feedback about the film because people when they watch SOUP, they're usually, and the same goes with all of my films really. They say, "I'm not sure I understand that". But I felt so much watching it. And I also feel that you are one of the very few, if not the first person, to be able to put into words what me and my team tried to achieve with it and put in questions, what we were trying to explore. That for me was very meaningful.
Melissa Ramos: In dance filmmaking, what is your process when developing choreography for camera? Are you forming phrases together in one overarching narrative or are you films the result of a more spontaneous improvised process?
Red-Cor: I see the camera movement itself as a choreography and the bodies in space dance with it. My dance films are often the result of an improvised process, but I make use of dance and improv techniques in my fiction films too, with my actors. It's the only way to be spontaneous and capture the human soul. For me at least.
Melissa Ramos: How would you describe improvisation?
Red-Cor: I'm really glad you asked that question, because I feel that whenever people hear of improvisation, if they're unfamiliar with dance or abstraction or the arts, they tend to see it as something sloppy done last minute and without any thought. Improvisation to me is the structured way of being free. You have the concept, the main objective in your dancers to try to achieve those objectives. Sometimes you just work on the process inside the concept and never reach an objective. Other times you have some red tights and that's your only guide and you see what they make you feel. Directors like Godard, Bresson, Woody Allen, Fellini all worked with incomplete scripts and I really admire that. And I really look up to that. It's just such a fascinating and rewarding thing - improvisation. Becoming primal again. We don't have the opportunity to do that in daily life. We always follow rules.
Melissa Ramos: You know, extreme editing techniques seem to be an important part of your work. Is there a special idea about the moving image that you want to communicate through your editing?
Red-Cor: I believe that nothing ever happens twice the same way. And the moving image I tried to approach something like it's the first time. Every experience should be new, even if it's the same idea.
Melissa Ramos: In SOUP you explicitly play with the fabrication of reality. Not to fabricate, but more to use reality. Quoting surrealist René Magritte, casting doubt on reality through the use of reality itself. How did you first become interested in the surrealist theories?
Red-Cor: So I always like to stress the fact that the surrealism I'm interested in is one that springs from everyday life, from incongruities and the uncanny. And Bresson one said, "nothing is as surreal as reality itself". I don't particularly like fantasy. That's a totally different realm. So my last year of high school was very tough for me and I wanted to create some form of purpose to wake up to every morning so I would grab my coffee and browse artwork for an hour on different websites and just have a lot of paintings in my computer. And you know how you feel when you're just searching for something, but you're not sure what exactly. Until I saw one of Giorgio de Chirico paintings called The Song of Love. And I kept searching for that aesthetic. And it turns out this painting highly influence Magritte as well. It said that when Magritte first saw a production of it in the early 1920s, he couldn't stop tears coming to his eyes. To see thought for the first time, he said, was one of the most emotional moments in his life. I felt similarly when I delve deeper into my Magritte work. It felt familiar and comforting and peaceful. And from them, I wanted to find out more about surrealism and every artist's approach on this "ism", and I felt particularly affected by what Duane Michals once said. "In your lifetime, you may meet three people who will free you. You may not even meet them. You may read about them. But whatever. Anything that frees you", and Magritte did it for me.
Melissa Ramos: You talked about dreams a lot in your answers. Do you see similarities between your dance films and the silent visual language of dreams?
Red-Cor: Yeah, definitely. I'd say the similarity is the textural quality of my dreams when I'm most intense. Dreams are very palpable and sometimes kind of gooey, and I feel the need to express them through very visceral expressions of the body.
Melissa Ramos: Have you ever had any lucid dreams where, you don't know, it feels like it's real, like that sort of, in-between?
Red-Cor: It's like, yeah. And I really interesting question. Because it's something, like a concept I developed because of these dreams and that I would probably like to explore later on in the film. And the concept is that sometimes the dreams, they feel so real. And, you know, you have like a dream and you really want to wake up. And in those dreams, it could be a nightmare, could be just a bad dream. And I'm thinking I really want to wake up. And when I do wake up and it feels like this. It's incredible. I can't believe I woke up and it was just a dream. But I feel like I've been given like a second chance. It almost feel like a parallel reality I was in, where I got a second chance. So I woke up and I'm never gonna do the same mistake from the dream again. So I like this idea of getting the second chance and waking up and it wasn't.
Melissa Ramos: And it didn't happen.
Red-Cor: No. No.
Melissa Ramos: I wish reality was like that sometimes.
Red-Cor: Sometimes that I'm dreaming in real life and I'm like, Oh, my God.
Melissa Ramos: Yeah, I ask that question because I feel that I think the transitions between different parts of scenes feel so fluid. And I feel like, it feels like a dream. I guess that's where some people say, oh, it doesn't make sense sometimes, but it impacted me. And that's why I asked that question.
Red-Cor: You know, I don't really think I plan, like maybe transitions happen in the editing, but what I feel like many times my brain follows the logic of dreams and people say, oh, dreams are absurd and they make no sense. But there is a logic of dreams and that that is many times my logic in films. And it does make sense in a way. And Fellini was very involved with this process, like he had this immense diary written in it for fifteen years or something like that, he documented every dream. And he was saying that he was thinking about why do people when they see a film, why do they accept these fast cuts? Why don't they feel weird? Why don't you just want to see a long shot? And the film is just one long shot. And he's theory is that it's because of dreams, and dreams are fragmented. And you're in a place and then you blink and you're in the next place. All of a sudden. So I think his other theory was that blinking is also like cutting cutting a film because you just don't see everything all the time. You blink, maybe your eyes are closed for a longer period of time. And something else happened just while you blink, you know. So in many ways, reality is very similar to dreams.
Melissa Ramos: If we talk about the rhythm of dreams, that sort of fast movement transitions between places they seem to be, it's very chaotic. There's this sense that the form has to dismantle in order to go into another plane. That's what I feel. There is this natural form of chaos and then reversing that in order to transition.
Melissa Ramos: It's remarkable how 10 seconds of images with no introduction or conclusion can evoke an emotional response. And one of the most interesting parts of your work is what you leave out for audiences to traverse through with curiosity. Why is that? And where did this come from?
Red-Cor: Fellini once said that life is not explained by anyone, so why should films explain everything? Ambiguity always means of revealing life. I don't like to point at something in particular because I'm trying to show people what I see and that shouldn't be about me, but about the world around us. The audience should always participate in the creation of the film, even after the film is finished.
Melissa Ramos: How important is music in your work? How involved are you in the music of your films in the process that decisions that you do?
Red-Cor: A few years back I made a study called "Homo Musicus" and the omnipresence of music in our lives. Basically, we're all made of vibrating atoms and everything around vibrates, which is why music has probably the biggest part to move us literally. For my work, I aspire to a music that would marry the images at the same time. I aspire to a film that would one day be purely visual. The pure image for my films in general. I like to have a connection with the music composer so that I only need to say very little, and they would naturally transformed that into substance. I've met some extraordinary people in the process, but I'm still waiting to meet my lifelong music partner and collaborator. For SOUP our music composer Amatis Chifu made the music without knowing what we were going through during the shoot, and they worked so well and that happened with all the other dance films to date. All of us in the team think we have this incredibly strong bond.
Melissa Ramos: It worked really well.
Red-Cor: I don't know, but I do have this fantasy of finding my lifelong producer. (laughs) I do have part of me different areas of films. I feel like I still want someone to really click with. All the way. Maybe for my feature films. I don't know yet. But I thought it was interesting because for my dance films, we approach this completely the other way around. Usually in film you do the shoot and towards the end of the shoot you kinda start letting your composer know what the what the mood is like, what we filmed, what's happening. And then he starts working and you go a lot of back and forth. And he would do the music to the cut and so on. But the way we work is that he does the music. We don't know. He doesn't know what we filmed. We won't know what it was. And it just works. It just works. It's just so strange and I don't want to ruin that.And I don't even question, we just do it. And put film to his music. That's interesting.
Melissa Ramos: Besides the arts, what are other areas and your personal experiences do you look to as reference points?
Red-Cor: I thought it was such an interesting question, and the answer might seem strange to some people, but it's just how I work. So from the top of my head, it would be pain, catharsis and friends. I look for heightened and experiences of human nature, and those usually occur in the presence of pain or suffering. There is pain and pleasure and vice versa. In gaga (dance) practice talks a lot about that. At the same time, I've always tried to find the elements that lead to catharsis, the kind that you feel when seeing your favourite person or your favourite band, your favourite place. There is a certain substance contained by pain, physical or emotional, which brings people closer to their human nature. So I tried to stay alert to my own share of suffering and others how I can cure or comfort and insert that within my art. That leads to empathy, which is an incredibly humanising and strong tool. And sometimes I just have to grab my flesh and bones to stop myself from escaping and be grounded. That's why I love and need dance and movement so much. They make you feel grounded with the kind of pain and intensity they inflict on your body. And lastly, friends are the people you can be most honest with. Sometimes more honest with your own self. And that to me is inspiring.
Melissa Ramos: Normally pain is something that people don't look at inspiration, well, like it's something that people like to shy away from. Or are afraid to look at? But it's inevitable. So you pretty much open yourself to it, and understood it in many ways, which is fantastic to see.
Red-Cor: I would watch a film, for example. I went to see Bohemian Rhapsody. Have you seen the film?
Melissa Ramos: Yeah. Yeah.
Red-Cor: I really got goose bumps during the musical moments. That was amazing. But what I lacked at the end of the film and I feel like I just needed something more. And then I realized, there was nothing about Freddie Mercury suffering in the process that all seemed like, you know, he was a natural and everything worked out his way. And even when he was ill, everything was positive. But I couldn't connect to the artist because they didn't show me the rough times, you know, like the really rough times and everything was just making it seem like it was very easy and you just have to have the right attitude. But life is not like that. (laughs)
Melissa Ramos: No. And if you don't think it is, then you're in denial. (laughs).
Red-Cor: I mean, yeah.
Melissa Ramos: At the time when you're going through lots of suffering, do you resort to movement to ground you?
Red-Cor: Yeah, I feel like dance has been something that really might sound a bit dramatic, but I don't like thing that kept me alive literally in some parts of my life. And I'm not the kind of artist that says, oh, I need pain for my art. It's good for my art or suffering. Yeah. Helps my art. And that's a good thing because I can only create in times of suffering. But it's not that. And I once watched this interview with David Lynch and he was saying that suffer...I was saying, exactly what I was feeling like the same thing. Like you have to remove this from your head that suffering helps you create as an artist. When you suffer, you feel heavy, you feel like you can't create. Your mind is blurry. You don't have clarity. You don't have the energy, the resources to create. It's not a good place to create. I feel like it's more the echoes after the suffering happened that help me create, really. While I'm in the process, though, I I like to take notes. I have so many notes in my phone and then I type. I go back. I write notes for a few months and I go back and I put them in a word documents. And sometimes I don't even remember what I meant. But try to make sense of them and I put those in my films, but dance films, dance is something I sometimes have to force myself to do to move. I literally drag myself to dance classes. And it's so good for the body and the mind and the soul and everything else.
Melissa Ramos: A few months ago, we were conversing over email and I recommended the book starring The Eye by Georges Bataille. I had a feeling you might align to it, and I think you do now. So after you read it, what was your view on the book?
Red-Cor: I'm so happy you recommended me to the book. I think I read it in like a few days. I just read it, read it. And I was very intrigued because it involved many aspects that I also use in my work quite often. And I tried recently to describe to someone the book and recommend it. And it's so hard to explain. It's so hard to describe. But you just have to read it and feel it. And basically when you recommended it to me, it's not like you said, oh, it's about this and that. It's like, oh, check this out. So I was very drawn to the title. I read few paragraphs from a Wikipedia article, so I said, I have to try and read it. And what I loved about it is that it's incredibly textural and physical and the vitality it has. It's just out of this world. And I think part of that is because of the elements it juxtaposes, like sexuality and death. And I'm actually reading a book now about Dali's life. And he was also very fascinated. By these two elements. And he was also equally obsessed with eggs. Needless to say, it's interesting because I thought about why I'm attracted to eyes and why am I would check to see these things. And I think it's all comes from personal experiences. And Dali was saying that he believes he had this intra-uterine memory. That's when he first saw two eggs or something similar when he was born. And then I found the book incredibly grotesque. And for me, the grotesque means taking human nature and stretching it to a point where you feel both empathy and discussed. And I look for these things in daily life and you might see things on my Instagram page or something like that. Sometimes you might think this is disturbing, but I find that so beautiful.
Melissa Ramos: Yeah, I don't think it's disturbing.
Red-Cor: Sometimes I didn't understand the grotesque before Beatrice pointed. She shares the most disturbing videos with me. You know, it's almost like absurdity. And you have to just be in a mood to get it or to like it. And then at the end of the book, you feel like you've gone through a journey with the characters and you don't know if it's them or you had a spiritual transformation. Taboo are challenged in relation to the cardinal. And this also leads back to what I was saying about pain earlier. And lastly, I thought about some films while I was reading the book and I was like, I've seen this before. Oh, it wasn't this artwork, I feel like this book influenced a lot of artwork as well. So, here are some films I thought they were very similar to this book. So the first one Tampopo, by Juzo Itami, and there's this famous eggs scene in which two people. They make out, but they keep transferring this egg yolk from one mouth to the other until the egg yolk breaks and it's just so disturbing but so erotic at the same time.
Melissa Ramos: it's very tender as well.
Red-Cor: Yeah, exact it's very delicate as well. It makes it feel very contradictory. But it's interesting how you can associate some elements and they a trigger some stuff you've never felt before, maybe. And I think a lot of the things I do in my art is. And that people find different is the way I associate. Kind of like contradictory elements from real life. And then there's a film called 'Un Chien Andalou' by Luis Buñuel. With famous eye scene in which an eye and it juxtaposes with a shot of a cloud going through the moon. And it's also as like the book is surreal but abstract but absurd as well. Then there's Weekend by Jean-Luc Godard. And it's such a crazy film. I recommend all of those films. And this film is about a couple who goes on the drive to some place for the weekend and the craziest things happen on the way. So absurd. Again, you have to want to to get it. Then there's Clockwork Orange by KUBRICK, and I like that the book. The vitality is so strong it almost becomes violence or expressionistic. And there's this thing at the end of the book. In an essay it says it's like an ascent through degradation. And I thought that was again, kind of relates back to what I'm saying about suffering. You kind of grow from a moment of degradation. Often. And the last one that reminded me of, It's called 'La Grande Bouffe' means the big feast by Marco Ferreri. And OK, the film is about these guys is really rich guys. It's like it's all a social commentary. They decide to go for the weekend to a house for a party, and they eat until they die. And their purpose is to eat until they die. And that's what the film is. But like it's it has these... It's such a statement. It's like the higher classes says how you spend your money and what you do with it. And like how greedy you can become and so many things. And I was intrigued with how far you can take a concept and stretch it to its maximum. And sometimes I watch a film and I think 'Oh the concept is amazing. The premise is amazing', but you realize it in the end, it didn't really reach its full potential. Like why have they not exhausted that experience? And the latter is really important to me because, as you asked me earlier, why do I want to heighten the nature of everyday? It's because we overlook so many things and I want to take the smallest details and just exhaust them until you never miss them again. So as I was telling you about the feature film, The Transplant. It has exactly to do with excess. And I'm always thinking. Am I pushing the story hard enough? So when I'm reading the book. I was like, yes, I'm going in the right direction.
Red-Cor: And there's these two quotes I really liked. The first is 'Tame does it May be. Sexuality remains one of the demonic forces in human consciousness, leading to the extension of one's consciousness, nuclear energy'. And the other is 'the need of human beings to transcend the personal is no less profound than the need to be a person, an individual. And these two things, I feel. Really points to this human nature. I'm trying to grasp. And the elements which compose human nature.
Melissa Ramos: Interesting. And why were you drawn to that quote?
Red-Cor: I think it's because I feel it talks about, the artist's condition to transcend the personal, but at the same time, the artist wants to feel like he's a person, an individual. When you think about it, what does it mean to be a person? And that's what I'm trying to find out always.
"The intimacy is the rhythm of the film's mood, and in moments of vulnerability, the camera captures everything unmistakably."