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EntreVistArtista Fred L'Epee


 
 
 


Fred L'Epée 02.10.1976 (Lausanne- Switzerland)




Para proyecto EntreVistArtista (EVA) © 2009 - 2013
Entre Tú y Yo: Mirjana Milosavljević & Fred L'Epee
 

 
Independent filmmaker Fred. L'Epee is a emergent artist within the international film avant-garde. The modality of his work is based beyond the cinematic form in order to resuscitate an altered perception of the visual expression.
 
Artist’s Statement: “In my personal path as artist, I always see our being as an eternal procession. We belong to the process of the geometry of universe. Abstraction with forms and indefinite lines towards an ultimately unknown destination. The narrative of human being. As a post- atomic myth or pre-war blues. We always choose the sense of belonging and farewell. We belong of our movements which are expansion of our cycles. The structure of our human geometry. Time is the rotation of our existence.
 
As well the distance is a perpetual geometry which controlling our way of life, the perception of our cogitation. In response, we create the movement. Through this movement, we use the memory into our psycho- affective system in the purpose to imagine our freedom, our cries, our drifts, our social struggles. In exile, all we are. We belong to this path. And we use it as an ultimate form of being. The Ideal is definitely established. This movement is related to the circulation of our emotional system. Through this, the path of our metamorphosis. Without this, the world is nothing.”
 
(Fred. L'Epee)
 
 
 
 
 
1. Mirjana: Hello Fred. I always like to give the interview an opportunity to briefly tell us about themselves? So please, tell us something more about you; where did you grow up and what's your background?
 
Fred:  My family and origins came from many cultural diversities. I grown up between Switzerland, France and Greece. That’s my roots and educational starting point. I began studying painting at the age of 17 years old at the visual art school of "Tetard" in Lausanne. However my creative background is mainly influenced by the autodidact way of creativity. Intellectually and pragmatically. That's the spirit essences.
 
*Contemporary Man | United States-Switzerland | 2013 | 5min. 38s. http://lepee.net/2013/02/28/contemporary-man-2013/   
 
 
 
 
 
2. Mirjana: I would like to know how someone was first introduced to film industry; what was it that first attracted you to it; when and what made you get into filmmaking?
 
Fred:  Each creative attractiveness is relative to the path you follow. Each artistic step is a logical extension. As the existential cycles forming your perspectives. So it was a personal development. A goal as a necessity. Especially after being painter for over ten years. I had the desire to see the picture still more lively, yet more possible. In 2005, I have created my first audio visual production in Lausanne (CH). We were a collective of painters, filmmakers, videomakers, Veejay or just art performer. As everything is contagious, therefore, the impact was. The goal was to give the opportunity to represent the experimental visual art for local artists and ourselves. Perhaps this is why I started to make my living as veejay. Then by meeting people, you are unconsciously surrounded and introduced into the process of filmmaking.
 
*The Testament | Switzerland-Greece| 2013 | 8 min. http://lepee.net/2013/01/16/the-testament-2013/   
 
 
 
 
 
3. Mirjana: Who are your biggest film influences? Are there other filmmakers whose work or style you admire and if so, who and why?
 
Fred:  Godfathers like J-L. Godard, Ingmar Bergman, Andrei Tarkovsky, Wim Wender, Jim Jarmush and particulary the chess master Stanley Kubrick. I am also fascinated by the avantgarde and Dadaist cinema. From the begin of the light, the artists Man Ray and Marcel Duchamp, and the french cinematographers Jean Epstein, Germaine Dulac or Jean Cocteau. These filmmakers who know to reproduce another universe. But actually, i am very attracted with the work of Leos Carax, Sharunas Bartas, Guy Maddin and Bill Viola which I recently saw his latest exhibition at the MOCA in Miami. The synergy of his work was just indescribable and hallucinogenic. I like particulary the meaning of all them because I may see a new visual approach concerning the philosophy of the film and being filmmaker. 
 
*Cycles | Switzerland-Greece| 2012| 3 min. http://lepee.net/2012/09/21/cycles-2012/   
 
 
 
 
 
4. Mirjana: What distinguishes film from other art forms; how does film unite different types of art and media and what do you consider the elements of a good film?
 
Fred:  The cinema industry has no art form in a abolute sens. We're agree. So far as I am concerned, I will talk about author films and visual arts. I've always compared a filmmaker to a writer by the way how to synthesize and to observe the world. Even if the media are differents.
 
However, technology became a magnetic field for art film process. As a multi-disciplinary scope where any creative element can be embed and allowed. Experimental visual art is currently a cultural necessity in the sociological concept of our being. As well in our emotional matrix as well as in our need of identity. The term of "unity" is so contemporain in the different types of media we use. And as any conception is undefined I would say that the element of a good film is just the relationship between objectivity and subjectivity.
 
*In Exilum | Switzerland-Greece | 2012 | 3 min. http://lepee.net/2012/09/21/in-exilum-2012/  
 
 
 
 
 
5. Mirjana: One of the things that really caught my eye about your work is that you research the topics of 'cultural diversity’ and you seem to be able to jump from subject matter to another with equal creativity, creating a unique anthology of ideas, which is a very impressive. What were the requirements of your position and how did you personally approach each subject?
 
Fred:  The cause of a vital need and the necessity for a language and common access. Touching the image becomes perception. The psychic animations from our emotional decompositions is a dream puzzle to compose. This post-existentialism allows creating structural symbiosis like physical, mental, psychological or metaphysical movements. I work in a fairly obsessively way the writing of the image and its synthesis. Each film is an existential landmark as well as a marker that is in perpetual evolution with the relation of yourself. Always in parallel. I have always believed to the meaning of the journey for learning, for discovering and for adapting yourself in any kind of ressources. This is a matrix.
 
*The Island | Switzerland-Greece| 2011 | 5 min. http://lepee.net/2012/09/21/the-island-2011/   
 
 
 
 
 
6. Mirjana: Do you have a particular approach to filming particular themes and do you prefer to keep a representation of the world as it is, or otherwise do you prefer to let the metaphysics to create the whole story?
 
Fred:  I would say that I use especially the concept of theme in my films as a subconscient narrative. This one is just the form but not particulary its contents. So far, each film contents is worked under a process of temporality where each elements are almost in shamanist relation with the subject. There, where the evolution of human being has others definitions and other laws in  non-existence for the real world. But this representation is a broader vision of human interactivity in itself. However, I've worked also in a wider shape in the social field for documentaries. From 2008 we made several documentary films; among others the realization of the film project concerning the Psychiatric Hospital of Thessaloniki. I can also highlight the documentary film about the accessibility of blind persons in partnership with the European Grundtvig Project.
 
*Elegia | Switzerland-Greece | 2011| 7 min. http://lepee.net/2012/09/21/elegia-2011/   
 
 
 
 
 
7. Mirjana: Your work is based on the relation Switzerland – Greece, documenting environment of the last ten years. Can you tell us what you find so inspirational about this relation between two countries and what you hope others take from your films with this background?
 
Fred:  As I've said, these are my countries of origins. A part of my relatives comes from Greece. During a while my last production "In-Depth Sea Films" was established in Athens. It is true that this gives legitimacy to this report. Moreover, my production is currently “Helicon films” (in collaboration with Ed. Alvarado) set in Miami and my work is over there for a certain period of the year.
 
*Unconcerned but not Indifferent | Switzerland-Greece| 2011 | 4 min. http://lepee.net/2012/09/21/unconcerned-but-not-indifferent-2011/   
 
 
 
 
 
 
8. Mirjana: Your official web site http://lepee.net/ is a great record and archive of your projects, so would you like to share with us some of your works and give emphasis to your perception of these projects. Regarding to that, which festivals have you screened at and which ones are coming up?
 
Fred:  All cinematic approaches and all inspirational themes depend always from your social, cultural and environmental position. This symbiosis will influence your progress and your lucidity. The environment plays extremely on your daily thoughts and actions. Whatever the pace. All the succession of my films are so linked, it is difficult to give a particular emphasis to one.  But if I had to give emphasis on some of my films for a better understanding, some exemples could be "The Passengers" (2010), "Elegia" (2011), "The Testament" (2013) or my last film's release "Contemporary man" (2013). I've screened my films in a dozen of countries, including several festivals among cities like Paris, Salzburg, Berlin, Madrid, New York, Athens, London, Washington, Las Vegas, San Fransisco... Perhaps the ones I most enjoyed to be welcome is certainly the TISFF "Thessaloniki International Film Festival" in 2011 and 2012 as well as the “2nd Pan-Hellenic Congress of Psychiatry” in Crete (Greece) for which my documentary film "Hypothesis of traveling " has been awarded.
 
*The Land of Scaramanga | Switzerland-Greece | 2011 | 5mn. http://lepee.net/2012/09/21/the-land-of-scaramanga-2011/   
 
 
 
 
 
 
9. Mirjana: You’ve said that “film is a visual work featuring the existential correlation between the body and its environment through the notion of the time deprived”, would you please describe your state of mind just before your screening?
 
Fred:  Body, time and environment. These are three essential elements of existentialism. The fourth element of thoughts that I've included in this film is the sensation of death and its implosion. Quiet and slow. As post-atomic fable for getting a kick out of pre-war blues.
 
* The Passengers | Switzerland-Greece | 2010 | 9 mn. http://lepee.net/2012/09/20/the-passengers-2010-2/   
 
 
 
 
10. Mirjana: The work you create is sometimes very personal, and with putting yourself into the project takes the risks associated with that. Has putting yourself into the project so much ever backfired? Is there anything you have worked on, that you regret putting up?
 
Fred:  The fact to be able to identify yourself to the work of the author is an essential element of art. To create an intimate dialogue with the viewer.  Like a personalization which is totally psychological and perceptual. For exemple, Truffaut, Lelouch, Godard and many more was brilliant film authors and often producing a very personal work.  Writen like real artists with lot of creative proximity. Even now, you can still recognize their styles but their personalities was always protected by their ambiguity. An artist must create as he thinks. He can not hide himself behind its creation. I regret some artists who have no longer the honesty to be what they are. This is a paradox.
 
* The Car | Switzerland-Greece | 2010 | 3 min. http://lepee.net/2012/09/20/the-car-2010/   
 
 
 
 
 
11.  Mirjana: What lessons did you learn from all of your projects? Both the positives and negatives. This will be read by a lot of first-time filmmakers, so you can get really detailed if you'd like and give them some sound advice? 
 
Fred:  I'll be honest when I’ll say that you need to know how to protect yourself from the public criticism. Whether good or bad. It is sometimes psychologically needful to keep some distances and to detach yourself from your films and and your creations. This in order to keep your genesis. Then it is a difficult job that induces yourself in a field full of complexity. When you begin there is lot of probability to remain for days without interactions. This is exactly where you must not lose this faith which is your art in an absolute sens. But in a positive way, this domain will lead yourself to know a multitude of people to whom you will share rare and unique moments. This opportunity to discover an another land within an another mothertongue.
 
*The Move | Experimental-Concept | poetic fragment | 2010 | 1min.  http://lepee.net/2012/09/20/the-move-2010/    
 
 
 
 
 
12. Mirjana: Do you have a specific approach to find the titles in order to be integral to understanding your work, and describe how you develop the titles for your work?
 
Fred:  I like actually to use the title in connection to the act of images if the work is conceptual. 
However if the film is written, having script and scenario with frames of complete structures, I think that the title must be found between the lines. Like the most beautiful and lost sentence written in a book.
 
* The room of Franz Kafka | Switzerland-Greece | 2010 | 4 min. http://lepee.net/2012/09/20/the-room-of-franz-kafka-2010/   
 
 
 
 
 
 
13. Mirjana: On your other site http://fredlepee.org/ you also have another interesting ongoing project “The Forgotten Film Gallery 2013”. Can you share your thoughts and experiences, on this project? 
 
Fred:  It was a great moment to meet as co-producer Ginnetta Correli. Curator of the project. I've been particulary mesmerized by the concept of "The Forgotten Film Gallery" and to be in this unique universe of the Mojave desert dedicated almost to the soul and spirit between absence and presence. The purpose was also to meet Robert Fulton who is manager of California State University Desert Research Center and speaks about current day environmental concerns with large for profit utility scale solar projects within the Mojave and surrounding areas.   Here is the interview: https://vimeo.com/63791420   
 
The Forgotten Film Gallery is an environmental documentary film project and video art installation which plans to showcase a collection of films dealing with interpretations of the forgotten and the indefinite time period during and after the present. The goal for the Forgotten Film Gallery is to unite the new with the old. Link the past to the future using the Mojave and remote fragile places as a gallery space then using World Wide Web as a platform to distribute a documentary freely with the public. Follow the Forgotten film Gallery on: http://theforgottenfilmgallery.wordpress.com/   
 
By utilizing the lonely desert as an audience. Contemporary artists might continue to create freely without the fear of rejection. Sharing the film on the web will also allow the general public to recognize and value the importance of our often under appreciated past and present natural environment. 
 
* Molecule Past | Switzerland-Greece | 2009 | 4 min. http://lepee.net/2012/09/20/molecule-past-2009/   
 
 
 
 
 
 
14. Mirjana: What do you hope to achieve with your films and what's your dream project? Are you currently working on any new projects and if so, could you tell us something more about them?
 
Fred:  I just hope to be fulfilled in my vocation and to discover unknown lands horizon.  Always have the opportunity to freely create. And never to say me once, while watching at the sky, that my soul is tired for good on the path. Of course, I am currently working on several projects apart my personnal work. Here is some representation of them: NORM/NO-Madic Lives - International Video Art Project (2012 –2014) 
 
In collaboration with Simon Mack - visual artist from Liverpool. Cities of Exhibitions: Melbourne, Liverpool, Beirut, Copenhagen, San Francisco, Berlin, Ramallah. SIDOL (2012 - 2013) 
 
In collaboration with poet Faraòn Meteosès (pseudonym of Stefano Amorese), narrator Brigitte Severin and music composer Takuto Fukuda. The project is based on the original poem “SIDOL” and extended to visual and aural media, in other words, the film, the recitative and the music. The poem "SIDOL" is part of a series of poems entitled "Psicofantaossessioni". The final publication will be released and available by book and by Dvd. 
 
I can also highlight the project dedicated for a music album IMAGINARY ENNEMIES (2013). I ‘m currently working with "Midnight Moodswings" under the label "Seism work" on video clips concerning the elaboration and concept of the last album from the electro band of Pittsburgh, PA 
 
* 21 Days | Switzerland-Greece | 2008 | 15 min. http://lepee.net/2012/09/20/21-day-2008/   
 
 
 
 
 
15. Mirjana: Finally, if you were asked by someone for some advice, who was interested in doing filmmaking themselves, or who simply wants to improve their skills in film industry, is there one piece of advice you would give them to get them started. What skills and approach is required to become as good in this field as you obviously are?
 
Fred:  First of all, I really think it is important to have a basic structure of daily work. To have a time schedule in order to manage in the best way all the plurality of this work. It's requires a certain flexibility, some adaptability and responsabilities. Especially if you're indie filmmaker and you're also producer of your own as well as co-producer in several projects you share. This is a extreme multipurpose work. Secondly, I think it is needful to have some knowledge of the trade laws like authors' rights (which is a only part of copyright), the intellectual property or broadcast rights. Especially now because lot of these notions are changing. Thirdly you have to be in a total proximity with the set of a film crew as well as digital technology such like media formats and movie processing, broadcast of engineering and all audio visual data transmission. But to conclude, it should not be elements of apprehension. Creativity is the first support and this is by this freedom where all will coming from.
 
 
 
Mirjana: Fred, thank you so much for sharing your experience and thoughts on how you got started with your professional filming career. Much honored and appreciated. I wish you the success in your future endeavors and thank you for all your contributions to the creative community.
 
 
Rosa Matilde Jiménez Cortés: Mirjana Milosavljević and Fred L'Epee, thanks. I appreciate your valuable collaboration to project EntreVistArtista (EVA) © 2009-2013. You have been my honored guests, are always welcome.
 
 
 
 
 
________Fred. L'Epée: Film Maker | Short- Film | Visual Arts | Experimental | Documentary | Visual Perception Research. Fred. L'Epée evolves in the visual arts domain. Basically independent, the modality of his work is based on an unconventional cinematic form in order to resuscitate any alterated perception of the visual expression. In the incessant way of persecuting tragically the internal hemorrhage. || Curator of 'In-Depth sea Films' | An Independent Film Laboratory of Art Expression and Perception created by Fred. L'Epee & Dimitra Pouliopoulou.
 

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