Als ein Kinopublikum anfängt, sich über den Film, den es sieht, lustig zu machen, nehmen die Ereignisse im Kino eine unerwartete Wendung.
Drei Fragen an die Regie
1. Short Film has a unique way of telling stories and exploring themes. What is it that fascinates you about the short format?
Lucas Camps: Because of the short format, you have a lot of freedom to express strange ideas. Odd worlds and stories you couldn't get away with in a longer format are easier to get away with in shorts. On the other hand: the difficult thing about shorts is to accept their short form and to really tell a story that is meant for the medium. I like it when a short film is really a story of it's own, instead something that could have been a scene from a feature film. To me a good short has to have a beginning, middle and end, just like features.
2. The program your film is selected for is called “Exposing your Demons”: What connection do you see between your film and that title?
Lucas Camps: In Wall #4 a cinema audience is bored by the film they are watching. When someone starts making fun of it, slowly others follow. Where there were first many people in the audience, just sitting there quietly, now their darker side appears. I think you could say that their demonic features are exposed. And they get to be punished for that.
3. What film has inspried you most to make films yourself and what part of it do you see in your own work?
Lucas Camps: As a teenager I was blown away by Zhang Yimou's "Hero". I had never seen a film as beautiful as that. It inspired me when I was younger to make shorts about sword fighting. But now I'm a bit older I still think I'm influenced by that film in some ways. For instance the shot where the popcorn flies in slow-motion, I think that's clearly inspired by that film (in Hero you see droplets flying in slomo). Another way in which you still can see Hero's influence is the overwhelming use of color to indicate a new plot element. Zhang Yimou has always been a master in the use of the color red. In my film, when things are starting to go wrong, the entire lighting turns red as well. It's funny, because I never realised about these influences when I was making the film. But now I think of it because of your question, the similarities are clearly there.
Cast: Bert Hana, Anton de Bies, Florence Vos Weeda, Daniël Kolf
Drehbuch: Lucas Camps
Kamera: Danny Noordanus
Musik: Roy Bemelmans
Produktion: Lucas Camps
Regie: Lucas Camps
Sales Agent: Lucas Camps
Schnitt: Max Vonk
Sound Design: Mike van Creij