Please tell us about the projects you worked on before making ‘The Artist. The Art – Margarete Adler’. How did you start, and how did you learn to make films?
My introduction to filmmaking began during the pandemic. As I watched many films, I started to feel an urge to create my own. Fortunately, I had a Fujifilm camera that I had been using for photography, so I began filming the world around me. My first foray into filmmaking was creating Poetry Films, where I combined poems I had written with visuals I shot and music I found, crafting them into singular artistic experiences. Over time, I started experimenting with various types of films while studying Psychology for my bachelor's degree.
As I approached graduation, I began considering film school as a way to deepen my understanding of filmmaking and expand my network within the industry. That decision led me to move from the UK to Berlin to pursue a Master's in Documentary Filmmaking. This experience significantly enhanced my connection to film and gave me valuable hands-on experience.
Over the course of the program, I directed a poetic documentary on the topic of Music Therapy and shot a documentary with a local charity organization that provides clothing to people in need. Each project taught me a great deal, helping me develop skills and connections that ultimately enabled me to produce The Artist. The Art – Margarete Adler.
Tell us about ‘The Artist. The Art – Margarete Adler’. How do you describe it?
This film is a close and personal exploration of Margarete Adler, a fine artist primarily focusing in the area of sculpting. Throughout the film, we get to know Margarete through a series of interviews and observations of her space and her work. It was important for me that this film didn’t just focus on her artistry or her personality but that it wove these different facets of her life together. This approach also reflects her passion toward her art, as she sees no separation between herself and her creations—or in her words, ‘everything that I show has something to do with my life.’
Through this lens, the film becomes as much about the process of making art as it is about Margarete’s unique way of seeing the world. Her studio, her tools, and even her hands at work all feel like extensions of her inner self, and I wanted to reflect that visually in the film. By spending time in her creative space, you begin to understand how deeply her life and art are intertwined, almost as if one cannot exist without the other.
Please tell us about your favourite filmmakers.
Many filmmakers have played an important role in my life and development as a filmmaker. Undoubtedly, my favorite filmmakers are those who blend different forms and genres within their work. Agnes Varda, for example, consistently explores the boundaries between documentary and fiction, often combining deeply authentic, real characters with a hyper-real color palette and fantastical locations.
Joachim Trier has also been a significant inspiration to me. While his films are rooted in the fiction genre, they possess an almost "documentary style" achieved through extremely well-developed characters and natural, slow camera work. This approach resonates with me because I, too, want to explore various forms within my work and avoid being confined to a single approach to "making a film."
Chantal Akerman is another filmmaker whose influence on me is profound. She is unafraid to put a great deal of herself into her films, often choosing to explore deeply personal and intimate topics. Her gentle yet realistic perspective on the world is inspiring. I would describe her as a "brave" filmmaker, and for me, bravery is one of the most crucial qualities a director can aspire to.
If you were given a good budget, what would be your ideal project?
If I were given a good budget, I would love to expand the project The Artist. The Art and work with a variety of artists and creative individuals. I envision this evolving into a documentary series or even a feature-length film, where we could delve into the lives, processes, and philosophies of a diverse range of artists.
This approach would allow us to explore the universal aspects of creativity while celebrating the unique perspectives that each artist brings to their work. By comparing and contrasting their approaches, we could uncover fascinating patterns—shared struggles, inspirations, and rituals—but also highlight the vast differences in how they view their craft and connect with their audiences.
My hope would be to create something that not only inspires other artists but also resonates with viewers on a deeply human level, showing that the act of creation is both universal and deeply individual.
Describe how you would ensure that production is on schedule. What steps would you take?
I believe the most important step I took to ensure that production remained tight and on schedule was being highly selective with my crew. On all of my projects, I follow the approach of “the smaller the crew, the better.” This allows me to focus my full attention on the protagonist and my vision for the film without the added complexity of managing a large team. I carefully chose a group of people who not only had strong working relationships with each other but also had experience collaborating with me. This streamlined the process and gave me confidence in their ability to work effectively without constant supervision.
The key relationship on set was undoubtedly between me and my Director of Photography, Aditya Sadanandan. During pre-production, we spent a significant amount of time discussing our vision for the film and meticulously planning the specific shots we needed. By the time we began shooting, we were able to work seamlessly, with clear and efficient communication.
For me as a director, this level of preparation is crucial. It ensures that when we’re on set, everyone knows exactly what we’re there to accomplish, allowing us to be fully present and focused in the moment.
What was the hardest part of making ‘The Artist. The Art – Margarete Adler’.
The hardest part of making The Artist. The Art – Margarete Adler was actually finding Margarete. I faced numerous challenges in securing a protagonist who had the time to commit to the project. I went through, I believe, four different artists who all expressed interest, but scheduling conflicts ultimately prevented the shoots from materializing. Time was running out, as my Director of Photography had a limited window in which he was available to shoot the film.
Then, I remembered that a friend had mentioned knowing someone whose friend was an artist. I arranged an introduction, and that artist turned out to be Margarete. From the moment we met, we had an instant and strong connection. Everything came together very quickly after that, and we were able to shoot the film just in time to ensure I could work with the crew I wanted.
If possible, tell us about your next work. What plans do you have for your future work?
I’m currently in the post-production stage of my first music video, which I directed and am editing. This is a really exciting avenue and one that I am excited to explore more in the future with other artists.
I am also currently in talks with my producer and DOP around potential ideas for a new project. I am strongly interested in exploring concepts of positive men’s mental health and how to present this topic in a new and engaging format. I am also in contact with art galleries and other artists around Berlin to try and develop this idea of exploring the works and lives of different artists, which is a project I am hugely engaged and excited about.
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