THE HAPPIEST DAY IN THE LIFE OF OLLI MÄKI is a film about a Finnish boxing legend. Nominated for European Discovery- Prix FIPRESCI, the director Juho Kuosmanen talks about shooting on black & white reversal and re-creating the 60s.
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What is your film about and what makes it unique? It’s about the Finnish featherweight boxer Olli Mäki, other people’s expectations and his priorities. It’s a peculiar boxing film about a peculiar boxer. Your film is based on a real person and not only is he from your home town but so is the actor you chose to play him. How did you deal with that situation? |
You shot in black and white and on 16mm. Why did you choose that material and what were the obstacles and achievements of that decision?
It was the best way to shoot this film. We didn’t have to underline the decade with sets and props, it felt like the film stock was taking us back to that exact time period automatically and we could concentrate on the faces of the actors. The biggest obstacle was to wait for the dailies. We developed the material in Berlin and scanned it in Brussels. So it took quite long. The best achievement is the feeling of the 60s.
What was the most challenging aspect shooting the film?
To find enough of it. We shot with black & white reversal (Kodak Tri-X). It’s not meant for shooting feature-length films. We ordered everything we could from Europe and USA but Kodak ran out of stock. They had to produce some more of it for our use.
After this first feature film experience: What do you most love / most hate about filmmaking?
I love short moments when you plan something difficult and then manage to do it. I hate the long moments of doubts and despair when writing the script.
Who do you consider your cinematographic influences?
There are too many of them to just name few. From Renoir to the Dardennes, Lucrecia Martel, Alice Rohrwacher, Mikhail Kalatozov, Vasily Shukshin …
How important is the EFA Discovery Award for you as a young filmmaker and what do you expect from the nomination?
It is, of course, a great honour to be part of this selection of new European filmmakers. We need publicity because we want to be seen. Awards are a good way to get attention and to get these films to be seen by potential audiences.
How do you see your future as a filmmaker? What’s next?
More films, I hope.
