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The Weekend Neos Kosmos : 11 November 2017
DIGITAL.NEOSKOSMOS.COM THE WEEKEND NEOS KOSMOS | SATURDAY 11 NOVEMBER 2017 17 FEATURE Petros Charalambous in my opinion, could be another character of the film, begins at Socrates' eye level, but as the story and his character goes through all the problems that come in his way and he grows and matures, the camera goes ries to a higher point of view symbolically. The same happens with the title. We changed the title to describe the coming of age theme of the film. The bridge, besides being realistically in the village and having many scenes take place upon it, also symbolises the passage of the boy from being a 12-year-old boy to becoming a young man. What made you choose this specific actor for Socrates' role? Konstantinos did not have any acting experiences before the film. This gave me the chance to ‘paint’ on a clean canvas. He is really talented and clever! He had a full understanding of what was going on on the set in terms of camera positions, continuity in actions and emotions. Of course he comes from a family in the film industry, therefore he had an initial understanding but he trusted me enough to guide him through the film. His face and eyes, that combined innocence and smartness at the same time made him very sympathetic to the audience. George, the other boy in the film, is also very talented and comes from a family in the industry. The good thing was that they are friends in real life. This made it easier for me. Is it hard working with children and transferring them to an era much different to the one the actors are growing up in? I love working with children. Most of the commercials I direct have kids starring. I think we have a connection. Working with Konstantinos and George was a great challenge. I had to transform them from boys of a city in 2015 to boys of a village in the 80s. We worked together for eight months before the shooting. I wanted them to trust me. Most of the rehearsing was actually riding bikes, playing in the fields, running in the village streets. Then it became more practical. We visited the actual locations and did all the blocking to get used to it. We didn't touch the script up until two months before the film. They were excited and committed. There was great help from their families. I really enjoyed it. Even though you are presenting the story of a child, it almost feels as if you are monitoring the journey of an adult to selfdiscovery that anyone could identify with. Can you identify in any way with this observation? Realism and truth. That's the way as a director I approach each project but especially this film. And for me it's the only way if you want people to identify, remember, feel, understand, accept, take this journey with you. The film tries, and I think manages to, capture real life as it was in the 80s in terms of language, styling, production design, appearances but also everyday life. This is another reason why older audiences identify with the film. The film combines suspense and drama, tragic incidents and everyday life, personal issues and broader conflicts, ambiguous characters and unclear pasts, contrasting emotions and situations, but at the same time challenges the very questions of what is right and wrong, or good and bad, notions which are not always simply black and white. The chance to develop and capture all of the above was a great challenge for me, and a journey through both familiar and unknown paths. I think this is the reason why the audience takes this journey with us; to remember, identify, laugh and cry but most of all, celebrate life. Do you feel that it was difficult trying to recreate a Cyprus village of the 1980s in 2017? It wasn't very difficult to recreate the 80s reality in the village since Kalopanayiotis maintained its identity over the years. We had to make minor changes in signs and remove the modern lighting from the bridge. Some changes were also made to the house’s interior for the needs of the story. Kalopanayiotis has a ’wild’ beauty that immediately created the feeling I wanted for the film. The way the village is built on the slope of the mountain, the river, the energy, the bridge. The bridge is a protagonist in our film. It works both ways-symbolically and realistically. The warmth and the positive way the people there accepted us and helped us made the film along with the help from Mr Papadouris made it possible. Are you working on anything at the moment? While representing and following Boy on the Bridge on its festival journey, I am currently completing a feature documentary called From Here to Everest. I am in post-production for a short film called The Bullet Within and in development for my next feature film which is soon to be announced.
04 November 2017
18 November 2017