纪录片自媒体解说素材-新闻动态参考-瑞士加拿大导演史蒂文·维特（Steven Vit/Swiss-Canadian Director Steven Vit Turns the Camera on His Own Family for ‘My Old Man’
https://cdn.6867.top:6867/A1A/hddoc/news/2022/07/0501/0053q55021z1gxj.jpg瑞士加拿大导演史蒂文·维特（Steven Vit
Swiss-Canadian Director Steven Vit Turns the Camera on His Own Family for ‘My Old Man’
他的父亲，那个不知名的人：史蒂文·维特（Steven Vit）从小就看见父亲一生的一侧。鲁迪·维特（Rudy Vit）为谋生所做的事情仍然是他的谜。史蒂文说：“我在杜恩（Thun）在一个像其他许多人一样在一个家庭中长大，有一个哥哥，一个虔诚的家庭母亲，以及一个经常忙碌的父亲。”我度过了一个愉快的童年，但是父亲告诉我他在退休之前要去上一次商务旅行的那天，在为Schleuniger工作了43年之后，我意识到我对他在家的生活知之甚少。”当时，史蒂文（Steven）居住在斯德哥尔摩（Stockholm），在卢塞恩（Lucerne）获得学士学位后，他正在为电影导演的硕士学位学习。距离距离，他开始从另一个角度看父亲。 “我不知道鲁迪的情感方面：他的想法，他的感觉。他本人对父亲不太了解。我想打破这个周期。我知道生活过得多快。所以我决定现在是时候了ET认识我父亲。”这是瑞士加拿大导演的第一部长片“我的老人”的起点，该电影由伯恩的Lomotion AG制作，并在VisionsduRéel的国际比赛中被选中。“鲁迪没有明白为什么我想拍摄他。“我不有趣，”他反复说。”但销售经理同意他的工作。史蒂文（Steven）跟随他去亚洲，参加了他的最后一次工作会议。但是要告诉他父亲是谁，他觉得他的母亲Käthi必须参加电影。他说：“那是我想出更多专注于他退休的过渡的想法。”他说，维特拍摄了他的父亲鲁迪·维特（Rudy Vit必须接受他突然不再期待的人，并且他的工作日从现在开始看起来像周日（德语中的原始标题是“fürinsmer sonntag”，实际上是“永远的周日”）。它紧随鲁迪（Rudy）与家人建立联系时，试图在妻子的日常生活中找到自己的位置，而不是他的存在比他的存在更习惯。制作贝加梅尔酱的一种简单尝试导致鲁迪（Rudy）和凯西（Käthi）如何在以前的后者领域进行对抗。 “电影中的一切都是自发的，”史蒂文说。 “我从未要求他们采取行动或重新拍摄场景。在亚洲和魁北克开枪的零件，我父亲一直居住直到21岁，都很容易。但是在家里，他们的日常生活缺乏壮观。拍摄此例程更多是一个挑战，所以我有时会建议进行活动，例如散步。”挑战是满足的：“我的老人”从未跑得很长。它的敏感性，幽默和鲁迪经历的情感过山车确保了动作。对于族长而言，开放到这种程度并不容易，不习惯表现出他的感受。他的儿子解释说：“有时我不得不激励他拍摄。” “这个项目可能有他史蒂文（Steven）独自拍摄，在他的童年家中呆了几个长时间。电影的力量来自其真实性。就像在一起拍摄的第一天，在他们的卧室里看到这对夫妇在卧室里讨论了他们的爱所需的调整，以在家里永久存在的鲁迪永久存在。史蒂文说：“自己拍摄是一个优势，但也是一种危险：我不知道他们有多意识到与导演交谈，而不是与儿子交谈。”史蒂文·维特（Steven Vit）在“我的老人”中观察到他的父亲努力适应退休。，但是否则，我们拍摄的任何东西都可以进入电影。他们有权在E期间否决引用，只有他们有很好的论点！”他们使用过吗？他回忆说：“不，他们只是在一个或另一个场景上发表了一些评论，因为他们认为自己看上去很糟糕。”史蒂文（Steven）出现在电影中的几个场景中，在此过程的早期拍摄。但是他很快就坐了一个座位，以避免坚持静止的射击。他通过配音仍然存在，为讲故事增添了更大的力量，因为他提供了对父亲的生活和自己的生活的看法。“这场拍摄教会了我很多关于父母与孩子之间对话的重要性，关于共同生活以及婚姻的重要性。我认为其中每一代都有东西。”他补充说，在他从事该项目的四年中，他与鲁迪的关系大大增长。“我们现在互相交谈。我不仅看到他像我父亲一样，而且还像其他所有人一样，也有恐惧，弱点，担心的人。他对我来说变得更加人性化。”
His dad, that unknown man: since he was a child, Steven Vit saw only one side of his father's life. What exactly Rudy Vit did for a living remained a mystery to him. "I grew up in Thun, in a family like many others, with an older brother, a devoted stay-at-home mother, and an often-absent working father," says Steven. I had a wonderful childhood, but the day my father told me he was going on his last business trip before he retired, after spending 43 years working for the company Schleuniger, I realized how little I knew about his life away from home.”
At the time, Steven was living in Stockholm where he was studying for his master's degree in film directing, after a bachelor's degree in Lucerne. With distance, he had started to look at his father from another perspective. "I didn’t know the emotional side of Rudy: what he thinks, how he feels. He himself didn't know much about his father. I wanted to break this cycle. I know how fast life goes by. So I decided now was the time to get to know my dad."
This is the starting point for “My Old Man,” the Swiss-Canadian director's first feature film, produced by Bern-based Lomotion AG, and selected in international competition at Visions du Réel. "Rudy didn’t get why I wanted to film him. 'I'm not interesting,' he said repeatedly.” But as it was about his work, the sales manager agreed. Steven followed him to Asia and attended his last work meetings. But to tell who his father is, he felt his mother Käthi had to be in the movie. “That's when I came up with the idea of focusing more on his transition to retirement,” he says.
"My Old Man" paints a moving portrait of a man who must accept that he is suddenly not expected anywhere anymore, and that his weekdays will from now on look forever like Sundays (the original title in German is “Für immer Sonntag”- literally "Forever Sunday"). It follows Rudy closely as he bonds with his family and tries to find his place in the daily life of a wife more used to his absence than to his presence. A simple attempt to make a béchamel sauce leads to a confrontation between Rudy and Käthi on how to proceed in what was previously the realm of the latter.
“Everything in the film is spontaneous," says Steven. "I never asked them to act or re-shoot a scene. The parts shot in Asia and Quebec, where my father lived until he was 21, were easier. But at home, their daily lives lacked the spectacular. It was more of a challenge to film this routine, so I sometimes suggested an activity, like going for a walk.” The challenge is met: “My Old Man” never runs long. Its sensitivity, humor, and the emotional rollercoaster that Rudy experiences, ensure the action. Opening up to this extent was not easy for the patriarch, not used to showing his feelings. “I sometimes had to motivate him a bit to shoot," explains his son. "This project may have helped him make the transition more easily.”
To capture the real without the protagonists being ill at ease and without the stress of a crew’s schedule, Steven filmed all by himself, making several long stays in his childhood home. The force of the movie derives from its authenticity. As when the couple, on the first day of shooting together, are seen discussing in their bedroom about the adjustments needed for their love to survive the permanent presence of Rudy at home. "Shooting on my own was an advantage," says Steven, "but also a danger: I didn't know how conscious they were of talking to the director, and not to their son."
He adds: "We had set rules: I wouldn’t film on the sly and they could say 'stop' if it became uncomfortable, but otherwise anything we shot could make it into the film. They had a right to veto during editing, only provided they had very good arguments!"Did they use it? "No, they just made a few comments on one or the other scene, because they thought they looked bad or so," he recalls, laughing.
Steven appears in a few scenes in the film, shot very early in the process. But he soon took a back seat, to avoid having to stick to still shots. He remains present through the voiceover, adding even more strength to the storytelling, as he provides his take on his father’s life and his own. "This filming taught me a lot about the importance of dialogue between parents and children, about living together, and about marriage. I think there is something for every generation in it.”
His relationship with Rudy grew significantly during the four years he worked on the project, he adds. "We talk to each other as equals now. I see him not just as my father, but as a man who also has fears, weaknesses, worries, like everyone else. He became more human to me."
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