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Floria Sigismondi - Filmforen.de

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Floria Sigismondi


18 Antworten in diesem Thema

#1 StephenDedalus

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Geschrieben 11. Juli 2003, 15:45

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http://www.floriasigismondi.com/

über floria sigismondi habe ich bereits im alten forum einiges geschrieben, deshalb nur ein kurzes update:

ihre aktuellen werke sind fighter (das auf viva und co. dauerrotiert) und untitled, welches mich persönlich sehr berührt
hat und hier zu finden ist: http://www.revolverfilms.com/sigurros/

wer in der nähe von stuttgart wohnt, kann außerdem einige ihrer porträts bewundern: http://www.stuttgarter-nachrichten.de/stn/...tail.php/445662
auch wenn mir die veranstaltung etwas dubios erscheint...;)


anbei eine (hoffentlich) vollständige filmografie:

Christina Aguilera "Fighter"
Sigur Ros "Untitled"
Amon Tobin "Four Ton Mantis"
Amel Larrieux "Get Up"Fluffy "Black Eye"
David Bowie "Dead Man Walking"
Sheryl Crow "Anything But Down"
Barry Adamson "Can't Get Loose"
Filter & Crystal Method "Can't You Trip Like I Do"
Tricky "Makes Me Wanna Die"
David Bowie "Little Wonder"
Marilyn Manson "Tourniquet"
Marilyn Manson "Beautiful People"
Catherine "Four Leaf Clover"
Page & Plant "Most High"
Carleen Anderson "Mama Said"
Hamem Scarem "Blue"
"Spiral" – short film

Bearbeitet von Ippolit, 11. Juli 2003, 15:46.


#2 Oskar

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Geschrieben 11. Juli 2003, 17:54

Die beiden Manson-Clips finde ich absolut faszinierend, und heiß sieht die Braut auch noch aus. B)

Eine DVD ihres bisherigen Gesamtwerkes wäre schön, aber sowas bleibt wohl nur sehr berühmten Berühmtheiten wie Chris Cunningham vorbehalten.

#3 Oskar

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Geschrieben 11. Juli 2003, 18:09

Zitat

Eine DVD ihres bisherigen Gesamtwerkes wäre schön, aber sowas bleibt wohl nur sehr berühmten Berühmtheiten wie Chris Cunningham vorbehalten.


Hm, Frage an die Germanisten: Müsste das nicht eigentlich vorenthalten heißen?

#4 StephenDedalus

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Geschrieben 11. Juli 2003, 18:20

Oskar sagte am 11.07.2003, 17:54:

Die beiden Manson-Clips finde ich absolut faszinierend
die manson/sigismondi kollaborationen gehören noch immer zu den besten clips ever...schade nur, dass manson nicht länger an dem konzept festgehalten hat, die klasse von damals hat er nie wieder erreicht :(

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den aguilera clip habe ich heute zum ersten mal gesehen...erinnert ein wenig an cunninghams clip zu frozen und die shock value ist natürlich auf nullniveau, aber für nen mainstream-clip ist er trotzdem recht hübsch geworden :)

ich habe inzwischen eigentlich hoffnungen, dass auch das schaffen einer sigismondi irgendwann auf dvd erscheint- interesse scheint zumindest zu bestehen. palm pictures und co. haben ja gerade erst angefangen...

#5 StephenDedalus

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Geschrieben 11. Juli 2003, 18:23

Oskar sagte am 11.07.2003, 18:09:

Zitat

Eine DVD ihres bisherigen Gesamtwerkes wäre schön, aber sowas bleibt wohl nur sehr berühmten Berühmtheiten wie Chris Cunningham vorbehalten.

Hm, Frage an die Germanisten: Müsste das nicht eigentlich vorenthalten heißen?
bin zwar nur gymnasiast ;)...aber: vorENThalten heist, dass man das betreffende eben nicht bekommt.

#6 Oskar

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Geschrieben 11. Juli 2003, 18:31

Zitat

die manson/sigismondi kollaborationen gehören noch immer zu den besten clips ever...schade nur, dass manson nicht länger an dem konzept festgehalten hat, die klasse von damals hat er nie wieder erreicht


Da muss ich Dir zustimmen. Die Clips aus der Mechanical Animals-Ära sind noch ganz amüsant und nett anzuschauen, die Holy Wood-Filmchen hingegen sind ziemlich enttäuschend und meines Erachtens viel zu brav ausgefallen. Das neue mObscene-Video gefällt mir gut, aber Du hast recht: Die Klasse der frühen Clips scheint unendlich weit entfernt.

Das Sweet Dreams-Video finde ich noch erwähnenswert, die Idee mit dem Schweineritt ist wirklich klasse. :lol:

Zitat

bin zwar nur gymnasiast ...aber: vorENThalten heist, dass man das betreffende eben nicht bekommt.


Mensch, manchmal habe ich so meine Momente, wo meine fürs Sprachverständnis zuständige Gehrinhälfte (ich weiß noch nicht mal, welche es ist) einfach nicht funktioniert. Grrrrrrrrrrrr!

#7 Oskar

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Geschrieben 11. Juli 2003, 20:28

Dieser Link führt zu einer bescheidenen deutschsprachigen Sigismundi-Seite.

#8 StephenDedalus

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Geschrieben 05. Oktober 2004, 22:36

The Cure: The End Of The World

http://boss.streamos.com/qtime/2/geffen/th...orld/300_hi.mov

ganz wundervolles video :love:

#9 StephenDedalus

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Geschrieben 05. Oktober 2004, 22:38

und eine recht umfangreiche photogalerie:
http://www.planeta-miss.com.ar/artist/flor...sigismondi.html

#10 StephenDedalus

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Geschrieben 08. Oktober 2004, 16:58

sheryl crow: anything but down

http://www.clipland....ideo/944440048/

:love:

ob p.t. anderson und seine mannen da etwas 'draus gelernt haben :haeh:

#11 StephenDedalus

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Geschrieben 08. Oktober 2004, 17:16

leonard cohen: my secret life

http://www.leonardco...multimedia.html

leider nur ein 30sec sample (wenn einer die >vollversion< findet: bitte posten!) und behind the scenes material (was'n süßes lachen sie hat (-> letztes filmchen)).

Bearbeitet von Ippolit, 08. Oktober 2004, 17:20.


#12 StephenDedalus

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Geschrieben 23. Juni 2005, 19:56

sigismondis >blue orchid<-video gibt es nun hier in der videosektion:

http://www.whitestripes.com/

#13 StephenDedalus

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Geschrieben 25. November 2005, 02:05

http://www.somamagazine.com/soma.php

Immune:

http://www.amazon.de/exec/obidos/ASIN/3899...1455821-5950164

...und hier gibt's auch ein huebsches update:

http://www.floriasigismondi.com/

Bearbeitet von StephenDedalus, 25. November 2005, 02:17.


#14 Swinglargo

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Geschrieben 25. November 2005, 08:22

Oskar sagte am 11.07.2003, 18:54:

... und heiß sieht die Braut auch noch aus. B)
Volle Zustimmung meinerseits! :blush:

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Sie soll auch ein Interpol-Video gemacht haben. Für welchen Song, kann einer helfen? :haeh:

Bearbeitet von Swinglargo, 25. November 2005, 08:44.


#15 rocknrollriot

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Geschrieben 26. November 2005, 19:22

obstacle 1 :)
Drei Elemente vornehmlich: der Geschlechtstrieb, der Rausch, die Grausamkeit -
alle zur ältesten Festfreude des Menschen gehörend, alle insgleichen im anfänglichsten
»Künstler« überwiegend.

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#16 StephenDedalus

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Geschrieben 10. Dezember 2005, 00:58

rocknrollriot sagte am 26.11.2005, 19:22:

obstacle 1  :)

<{POST_SNAPBACK}>


hier, neben einigen anderen ihrer videos, zu finden: http://www.ifilm.com...lmpeople/400656

#17 StephenDedalus

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Geschrieben 02. Februar 2006, 14:50

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LOS ANGELES -- Floria Sigismondi flies by the seat of her suede shorts. We're in the acclaimed photographer and music video director's beat-up old Mercedes, winding down the tortuous Laurel Canyon Boulevard over West Hollywood to her studio for the final post-production work on her new video, Fiona Apple's O' Sailor. Her new cellphone, delivered moments ago and still in its box, is already ringing, and Tosca, her one-year-old daughter with Living Things frontman Lillian Berlin, starts crying in the back car seat; her ears are popping from the sudden altitude drop.

"Can you drive?" asks Sigismondi.

I take the wheel and she hops in the back to look after her child.

The narrow road's corners are almost as tight as her schedule. On top of finishing off Apple's video, she has also just moved to Los Angeles from Toronto, is working on the screenplay of her first feature film and launches Immune, her second book of photographs, tomorrow night at Toronto's Museum of Contemporary Canadian Art.

Sigismondi's passion for her work lights up her large eyes and carries her through her schedule.

"I haven't slept more than three hours in one go for about a year," says the tall and willowy artist. "Just when you think you can't handle it, you go on." She laughs. "It's amazing what the body can take."

Sigismondi's vision has garnered her awards and respect, dating back to her memorable work with Marilyn Manson and David Bowie nine years ago. Immune, a lush collection of images, reads like a retrospective of modern dystopia, rendered magnetically appealing by its tragic beauty.

Her intense interest in the changing human form comes into sharp focus in the photographs of her sculptures. A female manikin poses naked, revealing her enhanced body with four breasts (doubles her pleasure) and spikes running down her spine, an added defense to compensate for her missing right hand.

Many of the images in Immune are taken from the elaborate, luminous sets of her videos, affording a closer look than the quick cuts normally allow.

One series in particular stands out, from an Incubus video called Megalomaniac about a violent American president. Endless electrical wires mark the sky's gradations from blue to purple as dusk falls on an industrial zone. Oil well pumps pump. On the gravel foreground against a chain-link fence, a two-walled made-for-TV dining-room set features a dysfunctional nuclear family with empty eyes, their table littered with broken communication devices on which they dine.

"That's the futuristic family who's been numbed by society," explains Sigismondi. "They're eating media. They've been fed and brainwashed. They eat oil."

Another series looks like design or fashion photography, except that the models all have large, white and expressionless oblong blobs for heads, with simple holes for eyes or mouths.

"I wanted to see if you took away expression and eyes, could you still get emotion? What does the body give you if you take away the face?"

The answer, it seems, is the immunity of being numb, of imbibing pop culture as an anaesthetic, every antenna a hypodermic needle. Delving into the opposite instinct, she describes her screenplay-in-the-works as taking place in a world where "burlesque, degenerates, drifters and travellers all come together, a place that enables people to release their dark side." Evil aside, expect a cast of characters who refuse to be put back to sleep.

Some artists seek tranquility, and Sigismondi's cliff-perched new home certainly has that. But she also finds that tension sparks her dark, brooding creative bent. "I don't mind getting angry at things, because it makes me feel alive," she tells me, "That's important for me, for creating."

When I first arrive two hours earlier during the photo shoot for this week's cover, Sigismondi greets me warmly in her colourful 60s stockings, airy gold-and-silver-sequined top and fake pink flower in her raven-black hair. But she's fretting.

Tosca is crawling around, her home phone ringing like an ambulance in a traffic jam and her medium-format camera acting up. Her assistant switches to a 35mm point-and-shoot while Pamela Neal, a hair and makeup artist and long-time collaborator, tends to her purple glitter tears.

Sigismondi keeps her cool despite the glitch, playing model, artist, mother and host with buoyant, scattershot focus.

L.A. suddenly seems a very long way from Sigismondi's blue-collar hometown of Hamilton. Being raised by professional opera singer parents, it's a wonder that she hails from Hamilton at all. The family's move from Italy when she was young played out like a tragic opera itself when Sigismondi's father couldn't find work performing. In Hamilton they found support among her mother's family. They lived in her cousin's attic while her father went to New York, hoping for a break but returning empty handed two years later.

Add her father's atheism and mother's Catholicism and innate operatic flamboyance and the tragedy almost turns comic.

"My mother," she recalls, "would dress so extravagantly just to go to Food City." Sigismondi and her sister had to follow suit.

"All I wanted was a pair of Levis and a T-shirt, you know, and she would get these Sears patterns and put me in plaid knickers and all this weird stuff that the Bay City Rollers were in. In a way, it kind of builds you, because you have no choice. It made me who I am."

Despite any hardship, to young Floria the life of an artist never seemed anything less than ideal.

"My parents were incredibly encouraging. You know, if you scribble on a piece of paper you're an artist. Anything to do with art, singing or dance that was the future."

After moving to Toronto and attending OCA, she struggled to find a creative way to make a living.

"I did anything I could. I walked up and down Queen Street with my portfolio, going into stores. A lot of them took little ads in NOW Magazine, and that's how it all started. The very first thing I ever got printed was in NOW."

She gradually started shooting album covers for performers like Jane Siberry and Lee Aaron, which soon led to her bread and butter, videos. Her notoriety led to gallery shows of her installations and photography in New York, Europe and finally in Toronto, in 2001.

I turn left into a parking lot and we enter an unassuming visual effects studio. Nate, the post-production supervisor, fills Sigismondi in on their progress with the minute final touch-ups of smoke wafting around Fiona Apple. The video has to be dubbed and out the door within the hour to make it to New York by 9 the next morning, but Floria wants to re-edit a scene transition. Nate's immaculate calm shows a tiny crack. "We have about five minutes," he says as Tosca hands him a fruit chew she's found.

Ten minutes later, Sigismondi is finished, the phones stop ringing, smiles abound and she bids her small team a fond goodbye.

If tension is the flint for Sigismondi's creative spark, then critical concern for a mad, desperate world is her fuel. Responding to an array of related issues, from mass consumerism to cosmetic implants to cybernetic and genetic tampering with the human form, she poses the question, what does it mean to be human?

"It's a lot about the new body," muses Sigismondi. "How, in order to survive, we've changed."

As with any slow but relentless transformation, it's easy to miss, but being raised on the tragic tales of classic operas has given the artist a unique perspective. With her own operatic flair, she homes in on the raw emotional core of what gets lost when we reduce the body to a consumption machine, and makes it personal.

"Directing and photography are a safe environment for me to look at myself, to exorcise some of my demons. This is my way of looking at them." Through Sigismondi's images, her demons become avatars of something beyond the world of Botox and saccharine happy endings.

Wending our way back up the foggy canyon in the pitch dark, I wonder if her scrappy sedan isn't too long and low to make the steep hairpin turns.

With O' Sailor done, Sigismondi will take the next few months to calmly complete her current script.

All is still. Sigismondi carries a sleeping Tosca into her house and could actually be in for a quiet evening. But probably not. Even as I leave, I can hear her phone starting to ring.
NOW | NOVEMBER 10 - 16, 2005 | VOL. 25 NO. 11

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#18 StephenDedalus

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Geschrieben 02. Februar 2006, 14:51

By TARA SMITH>Green Banana Online
All photos by Floria Sigismondi/Redemption.
Die Gestalten Verlag, Berlin, 1998

Floria Sigismondi is a world-renowned photographer and director whose work has been described as "Fellini and David Lynch on LSD."

Currently, she divides her time between Toronto and New York, and is working on a screenplay for a feature film on the Black Dahlia, an aspiring Hollywood starlet whose murder brought her the fame she desired.

Sigismondi's newest collection, Come Part Mental, opened in April at NYC's John Gibson Gallery. It travels to Toronto's Museum of Contemporary Canadian Art in September.

Green Banana caught up with Floria while she was preparing for her April show in New York City.

Green Banana: You seem to be fascinated with the surreal. Does the real world bore you?
Floria Sigismondi, self-portrait

Floria Sigismondi: Well, I guess. I mean, once you dive into the imagination, the real can be boring. But as I'm learning to really look at things around me, there are some beautiful things in nature, I think, that if I was to reproduce it in my work, would just be so fantastical. But it's all in nature - it's incredible. And I've just only been really noticing that in the last year. And the way insects are made, and butterfly's wings.

GB: In your upcoming show one of the creations, named AND-ie, is a genetic mutation gone wrong. What are your thoughts on genetic manipulation?

FS: It's interesting because I don't support it and I don't condone it. I think it's human nature to find out what we're made of and to understand. There's always been a search to understand life and where it comes from, and who the originator is, and does a God exist? And I think in trying to find that, we become God. We've become the creators now, and I think we need to destroy the human body in order to find out where it comes from.

GB: Some of your work examines dismantling the human body - do you have any hang-ups with your own body?

FS: I had physical problems, where I couldn't eat a lot of things, and I got quite sick - I had chronic strep throat. Every two weeks I'd get strep throat. So, there's a lot of body issues, but that's because I wasn't in my body. I was in the mind a lot - in my head. And my body - I just wouldn't be in tune with it at all, and then I'd have to force myself to do yoga. I'm not really as regimented as I would like to be with it. In the last couple of years I've been a little bit better, and sort of found what my body needs, whereas I never really looked at it at all...it was more those kinds of issues.

GB: In terms of physical appearance, women still face a lot of societal pressure.

FS: I have a problem with the way that it's become so militant in the way that women should look - and I'm really against that.

GB: Has your Catholic upbringing influenced your work?

FS: Yeah, definitely.

GB: To what extent?

FS: Well, I think I just carry the pain. I just carry the guilt...the whole symbolism of Jesus Christ on the cross, and the blood, and all the torturous things that had been done to him. You know it's quite horrific and quite strong imagery for a small child, and you carry a lot of that with you.

GB: How was it growing up in Hamilton? Obviously, with opera-singing parents, you must have been a bit more culturally aware than the typical young person.

FS: Well, it's a steel-factory city - if your brother didn't work there, your uncle did. Your whole family worked in the factory, and that was not the case in our family. So we always kind of stuck out a little bit, and there's a percentage of closed mindedness that comes with that, and I think that's maybe in a lot of smaller cities, you know? I remember my punk friends ending up in the hospital because they looked the way they did - beat up in Hamilton.

GB: Can you describe your first memory?

FS: There was a time when, as a kid, I just remember seeing these little eyelashes moving around. I started to pick at them, and low and behold they happened to be attached to my baby sister. She must have been two, and I must have been four.

GB: Speaking of your childhood, I read that you almost drowned when you were young.

FS: That was horrific. My sister and I were on a raft basking in the sun, as little kids do on the lake, and we drifted off - way too deep for us - and then a wave came and toppled us upside down. All I can remember is reaching for my sister and then completely just taking in gallons of water. So from then on I was completely terrified - I still am - of huge bodies of water, completely. I used to be obsessed with the Loch Ness monster.

GB: Are you ever insulted by the tendency of some people to equate your work with your mental state?

FS: Um, no. I guess it depends on how you look at it. I mean, my work comes from trying to understand things. Or I just see pictures, and I need to reproduce them. But, you know, the things that I'm most terrified of - like I'm terrified of moths...Although, I did do a Marilyn Manson video full of moths...I'm absolutely terrified of moths, like paralyzed.

GB: Really? Like people are of spiders?

FS: Yeah, but they fly! Spiders are nothing, but moths - hair on wings! And I don't know why, but I want to deal with that, so I do a music video where it's all moths.

GB: Are you still terrified of them?

FS: Yeah, I haven't worked through that one.

GB: So are you working on the Black Dahlia film?

FS: Well, I get a script -probably in the next couple of weeks- and then I'll probably have to work on it and rewrite it. I'm going to have to take it to a place where it says what I want it to say.

GB: Do you have any expectations, in terms of public reaction?

FS: I don't know. I can't think that way. If I do, then I start to censor myself, and it starts to freak me out. But you can never second-guess how things are going to be perceived. I think that if I'd really sat down and thought about how the Marilyn Manson video would be perceived, I never would have done half the stuff that I did in that video.

GB: You've said that you often gain inspiration from that period between sleep and wakefulness. I'd just like to ask, what keeps you up at night?

FS: I've had some pretty horrific dreams. Without sounding totally crazy, a certain voice, or a whisper, or something...but this voice, wherever it comes from, that's the thing that can jolt me in bed. And I don't know where it comes from. It's very close, in my ear.

GB: Are you actually asleep, or semi-conscious?

FS: No, I'm asleep. And it comes with me in my waking. I bring it out of the dream, and into the real world...I've done that a couple of times too, dreaming about the Dahlia. I've actually transferred pain from the murderer, who's in the dream, grabbing my throat, and actually transferred it into real life, and the pain was still there...And dreams become part of your memory. So, then they become part of you, because they're part of your make-up, and your experiences, and then how you react to other things around you. That's what it's all about. Experience.

GB: Do you think our culture is becoming too complacent with mediocrity?

FS: Yeah, and unfortunately I think that's what sells. What sells is mediocrity...whether it's executives in record companies, or whether it be people that are making decisions about what films get out there, and I think they're afraid of intelligent things. I mean, I've been in meetings where it's like, "No, no, that's going to be too smart for people," and you think, 'What?' And it's undermining. I think people are smart.

quelle: http://magazines.hum...itants/tara.htm

#19 StephenDedalus

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Geschrieben 16. Juli 2007, 01:58

Postmortem Blissby Floria Sigismondi:

In homage to Rebel Without A Cause, Sigismondi recasts Nicholas Ray’s portrayal of the turbulence and pain of adolescence in a modern light. Today, institutions and their educators often diagnose these pains and confusions as a mental disorder. Postmortem Bliss is a film about the over-medicated, addicted, and misdiagnosed generation of today.

kurzfilm, hier:
http://static.h.customers.artful.net/herme...ra_video_6.html





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