KALTBLUT presents: EVIL TWINS! A fashion short, editorial + interview
KALTBLUT and Alexan Films presenting: EVIL TWINS! It’s the story of two twins. One of them is ready to spend an afternoon on the riverside with his mates until he is confronted with an extreme situation that will force him to decide if he will fight for his friends or for his brother. Jealousy and violence play a part. It might also be a plan organized by both brothers. What relationship exists between the twins? What do they share? What kind of rivalry exists between them?
KB: Tell us a little bit more about your role as a director in EVIL TWINS, how did you come up with the idea of a mixture between a Fashion film and a Short film?
ALEXAN: EVIL TWINS was supposed to be a short film that still represented me as a director as I did with the other videos. I’m focused on keeping a personal mark and style. In all of my works I like to take special care to the aesthetic part of the film and that is shown in the fashion film, in the attention in the costume and the visual beauty I’m trying to show.
I always start thinking about the project from the producer side because that is my strong suit, I’m a producer first and then a director and that video required a strong effort because we all had to travel to an island in Tigre and find new impressive locations.
KB: What motivated you to tell the story of these twins?
ALEXAN: One day I was riding on my bike and I saw the actor of my previous video FATAL, Joaco Fangmann, who was with the twins, Agustin and Federico Bleuville riding a skate. He told me they were friends and that they belonged to the same agency Civiles Management.
We kept going for a few blocks and I realized that I had my analog camera with me, so I asked them if I could take some casual pictures of them and they accepted. In the short time that I took to take the pictures we naturally talked about the idea of making a video with the twins. They really liked my work so they thought there could be a possibility.
A week after that I wrote to them and let them know that I had the script, the location and the project. Soon we were ready to take action and they became the leitmotiv of the film, for me it was very important that they’d feel comfortable, performed as who they are and give me their opinions.
As a director I find it very valuable that the actors can play free and tell me how they feel about what they are doing, most of all, because my projects are based on something very natural that comes beforehand in the election of the actor for that character in particular, besides, I like it when they show me their concern because if they feel comfortable that is going to be reflected on the camera and the final result.
KB: What were the difficulties you had to face at the moment of shooting?
ALEXAN: The whole short film was shot in an open area so the weather was a key factor to make it happen, the weather conditions had to be completely amazing. The shooting appointment was very early in the morning and the weather forecast announced a complicated day. I was a little bit tense about this situation because the actors had to jump into the river and swim. Luckily, it turned really good in the afternoon allowing us to have a great shooting and enjoy the day.
KB: In EVIL TWINS there’s a magnificent work on photography, do you get involved a lot in these aspects?
ALEXAN: I like working with photography from a very natural side, Sebastian Ferrari is my photographer and he is really aware of the things I like. I don’t know much about the technical aspects of photography, I just realize right away when the result is something I really like or I don’t. On the other hand, I really work on the colors, and we thought about doing a shooting plan according to the daylight, pay special attention to the sun and the clouds and get them on our side. We didn’t even use artificial light on the indoor part because the house was very illuminated and had some huge beautiful windows. The short film was shot chronologically with the story, in the morning when they wake up to wait until noon, to the last ray of light when the twins feel exhausted after a very long day and reconcile with each other to return home.
KB: How was EVIL TWINS financed?
ALEXAN: As it happens in most of my works it is independently done, I’m the producer and I finance the costs it takes. However, I count on really good friends who work on the technical crew and make it happen.
I think about the cost it is going to take at the very beginning of everyone of my projects.
I was very lucky that Gabriela Sorbi, Art Director and Film Producer, lived in Tigre and provided us with many things that otherwise would have been really hard to get.
KB: What aesthetic references did you use to inspire yourself?
ALEXAN: I get inspired when I’m working with reality, what I have and the things that are within my reach, I try not to have impossible aspirations, just work with the real thing. That is my rule. I think about the location I might get and the fisic du role I imagine for each character.
Then, I have to find the models to fit these requirements and I really enjoy the casting process. In this video as in many others I get inspired by imagining the actors performing in the characters I want for them.
I totally like Xavier Dolan’s work, he is a big reference for me, he inspires me to follow the people that are related to my work. I also find inspiration in magazines and fashion posts.
KB: What’s the main goal of the video and its distribution?
ALEXAN: My videos are mostly done for the internet, as they have no dialogues, there aren’t many festivals related to these kinds of videos. This is happening because it is the kind of production I’m choosing right now, as I am independent, the financial part and the timing are decided in a very short time.
When it comes to publishing the material, I try to find some general interest sites and fashion sites, I deal with the press of the video myself. I obviously want the video to be seen by as many spectators as possible but the final goal is to transmit an emotion or sensation through the images and let the spectator feel free to complete the story with imagination.