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20 Sep 2010 by HN 1 Comment » Interviews Begotten, Elias Merhige, Shadow of the Vampire, Suspect Zero

Interview: Elias Merhige (Begotten)
Browse: Home / Interviews / Interview: Elias Merhige (Begotten) Posted: September 20, 2010 at 12:36 pm

WHO: Elias Merhige – director MOVIE: “Begotten”, “Suspect Zero”, “Shadow of the Vampire” Interview with Elias Merhige – 01.31.09 (INTERVIEW BY SCOTT ESSMAN) Elias Merhige, born in 1964, grew up in Brooklyn, and went to school in Tenafly, New Jersey before attending film school at State University of New York at Purchase where he received a


The interview was conducted for DIRECTED BY Magazine at the time of the release of SHADOW OF THE VAMPIRE. I was working with a lot of actors and artists at the time.. . And you were in your early 20s at the time? Yeah. everything. a quarter of a million dollars to produce the show. BEGOTTEN. what it would cost…. “Okay. What was the earliest genesis of “Begotten”? With “Begotten”. and the film was just ancillary to the experience.Interview: Elias Merhige (Begotten) | Horror News. And it was the sort of thing where I had envisioned “Begotten”–I mean. I mean like the theatre and its double. I mean really to its fullest extent. I did all of the cinematography. was that I had never really seen any of Barto’s ideas or any of these very powerful ideas on aesthetics that Nietzsche had about plays and early Greek drama. And so I thought. And I originally thought of it as a dance theatre with live music piece that we would do at Lincoln Center. at the time. Special DVD copies of BEGOTTEN are now being made available as a not-for-profit item by DIRECTED BY Magazine for a short time | Horror Movies. There’s got to be a better way to do this.”? About six months. Because “Begotten” really is a world more than anything. the light coming off the 12/01/11 . from when you wrote the script to when you said. And it would actually cost me. sort of became like the vapor. and I hadn’t seen any of it on film. And–sort of like the experience was the flame–and the work itself. It took me three and a half years to make the film. Page 2 of 16 bachelor’s degree in 1987. It’s a world. And so that got me into shifting my whole focus into making a film. I want to do this as a film. But then I found out what it would cost to get the theatre space. You know. a lot of my influences at the time were Antony Narto’s theories on theatre and art. Films.” Then the challenge became.. I was making it up as I was going along. ritualistic experiences. It was because–I built the optical printer that I did all the special effects on. and I had a small theatre company in New York. But that was a very powerful experience. theatre as play: all of these very luminal essays about aesthetics and what theatre needed to be in the 20th century. all of the special effects. And I finished the film when I was…. And it was really a very powerful experience. And we were doing a lot of experimental theatre. creating the world. But one of the challenges with that http://horrornews. Merhige’s first feature. That was not because of money. It changed the lives of every single person involved with the film. And one of the things that was really important. I thought. really. the film. “It’s weird. News. This exclusive interview concerns the making of his controversial nondialogue feature film. where the experience itself became what it was about. It was really one of these transformative. And so it was the kind of thing where at the time–I wrote the script when I was 20. Now how long of a period.

And I drove him crazy. “Okay. the stars to come up and the moon to rise over one of the mountains. If you guys ever get overloaded with work. it turned out that it would have cost me millions of dollars to have an optical printer for the amount of time that I needed it. It was actually cool doing it. “Hey. if I modify this. if you want to create something that you haven’t seen before. Mid. And then I had a friend of mine that was an electronics engineer out at Brown.” And that was still a lot of money. This workhorse. http://horrornews. And then one day. You know.” And then what I would do is say. with their developers. I don’t think he talked to me for years after helping me with the electronics on it. There was like Disney jobs–there were just various different things they farmed out to me. Films. Airbrushed the stars in. and I started doing every experiment in the world. And then I got ahold of a 16mm Aeroflex camera that was borrowed to me. . I’ll do it for you for like half of what any of your other cameramen would do it for. we’re not using this old…” I mean. sat down with their timers. And to buy an optical printer would cost me. and they wanted mountains in the background. And I went around getting parts from different camera places. different special effects houses. There were no CGI or no computer elements.” When I needed money.” And I would give them like a laundry list of things that I needed. It was just this horse. we don’t have exactly that. I forgot that it was for a movie or anything–it was just like my own little six-second world. you know. You optically printed it off the film yourself? Yeah. sort of developing my own film. SCOTT: How did you get these parts? Were they paid for. and it looked fantastic. “I’ll do some special effects for you. So a friend of mine. and if you develop it higher than the normal mean or lower than the normal mean in terms of the temperature of the developer bath. rotoscoped the whole thing. and asked them how they–what is it about developing film. doing all that late 80s. and they just had it. They wanted the sun to go down. This is late 80s or so? Yeah. if I machine it in a slightly different way–can I do that?” And they would say. I just went to these guys and said. I would call my new cinematographers and sit down with them for hours and talk to them. Sure. ”Begotten” was shot in 16mm. “No one on earth is ever going to use this. like number 13. Michelle.Interview: Elias Merhige (Begotten) | Horror News. It was like just part of their inventory. at the time. I started doing just every conceivable thing from in a darkroom on rewinds running the unshot negative through sandpaper. or did you get them–did people loan…? They were things that no one was using. So I built one. Yeah. Everything was done on film. Page 3 of 16 film was that it got me into the whole investigative process of “All right. And then I used an Italian projection gate from the 1940s. and they would say. somebody told me about the kind of control that you have with an optical printer. And I still wasn’t getting the results that I thought I really needed. That’s how I paid for the sound mix for “Begotten”. and they would each say. You can have this. For various different people? Small little jobs? Various different people. people are really helpful. since that was what they used to do special effects at the time–there was no CGI — the cost of an optical printer at the time was more than–you know. how do you do it?” And so I would just talk to everybody. I had an old 1936 Mitchell | Horror Movies. And when it came time to try and make a deal to get an optical printer. what does it do to the film? And they would do these experiments for me.. Late 80s. “Well. News. “Yeah. between a quarter and a half million dollars. I would go to–I went to every laboratory in New York City. and I would actually look at this stuff. I would call people up. but we have this. in the conversation. to scratch the negative before I shot on it. There was this one rotoscope job that was like six seconds of this old man looking up at a spire and there was blue screen in the back. Everything was done very 12/01/11 .. And they said. animated the whole thing.

and the parallel between that film and “Shadow of the Vampire” is that there was a very Zen-like incredible experience in directing “Begotten”. The middle section was in a house.” Did you ever feel like you wanted another point of view? E. How long were you there? How many days in the quarry? Would you believe it was just like 20 days. My agreement was that I would shoot when they weren’t working. Where was “Begotten” photographed? There were three or four different locations. you know? And I’d say. “Yeah. Non-dialogue. You didn’t have to pay for the location at all? No. I do plan on blowing up “Begotten” to 35. I was so curious about all the different things that needed to [be done]…. but the main one was a construction site right on the border of New York State and New Jersey. It was remarkable. you know? If it just had a mountain of rock just right over there to the right. I mean. And it–and they just had devastated the landscape. Was there ever a point in which you thought. Because I’m sort of neurotic anyway. and told them what I was doing. All you got to do is just take a different camera–you know. Then I did the sound.: No. It was just an extraordinary thing to be able to speak. I’ve already written it. And their agreement was to have all their equipment out so I could shoot. the composition is almost perfect. They would bring in bulldozers and heavy dump trucks and they would just make a mountain. There was a great deal of innocence to making “Begotten”. I could have just blown up the film myself instead of…. I should also star in all the stuff myself. And they actually–they thought I was crazy at first. “I should also operate the camera.Interview: Elias Merhige (Begotten) | Horror News.” Was it an artistic choice to say.. operating the camera.M. that’s what I should have 12/01/11 . Films. [20 days in the quarry for the last third of the film… earlier in the film was at a lake. I don’t know.” And then. It felt very natural. And it was such a homemade. So I had talked to the engineer. it would be perfect. and they just decided. But that’s something I plan on doing. on top of it.] A friend of mine was going to hook me up with some Indian friends of his down in Santa Fe or Albuquerque. and when it’s done. you can shoot that movie here. “If it just had a mountain right there. Because I am looking through the camera. as time went on. the main engineer that was engineering all the groundwork there. I had a 16 camera mount. I’m already directing it. and–well–”Begotten” is a silent. They were making this huge corporate park. speaking to the actors. . but when I explained to them how I was doing it and what I was doing…. | Horror Movies.. And they were constructing this corporate park. obviously. I have to just know that something is done. http://horrornews. I never hooked up with them. I used to take that off. I told them. they felt sorry for me. just at the northern part of New Jersey. Then that’s being reflected back into the camera and recorded onto the film. put a 35 on.” And I would have them look through the lens. News. handmade.” And they would make one for me. “You know. And the amazing thing. “It’s my first film. It was all weekends. you know. when it comes to doing things. Which in hindsight. It was the sort of thing where. that it’s done properly. Page 4 of 16 So the optical printer could be used for either? Yup. and I’m seeing an idea that’s coming out of my imagination becoming flesh and blood in the characters and friends that I’m working with. handcrafted piece of work that it just made sense that [I crew everything myself]…. And it’s like this process where it’s moving out of my brain into flesh and blood and back into the lens onto film. Not that it needs to be blown up–I just feel like doing it. I guess. And they were going to take me on this like fun ritual thing that they were doing in the mountains. It just felt like–well.

it took me two years to get it out there. That was three years? Yes. And it was there that Peter Scarlet and Tom Luddy showed the film to Susan Sontag. ’Cause if it’s just a hair off.” And then when he opened a production company. And then when I finished the film. And it’s wrong. I’m moved by this piece of | Horror Movies. And said. Page 5 of 16 for some reason–miscommunications. Because she brought it to the Berlin Film Festival. And then we met. Jeff Levant. just out of his own volition.” And that’s the way it evolved from there. if you can show this for free in some high school basement in the Bronx. what do they know?” kind of attitude. And then Werner Herzog had seen the film at just about the same time. And for me..Interview: Elias Merhige (Begotten) | Horror News. that…. I knew that I could make something really terrific out of this. (he was the assistant director on “Begotten”. And it just looks stupid. Films. How long did you spend in post on “Begotten”? E. And when I first read that script–you know all that stylistic stuff. And three days later. And I met this http://horrornews. “Listen.: That was what took all the time. saw the film and said. and I hated them. and it was remarkable. How long on the sound mix? …the whole movie–about 88 minutes of sound effects. I knew exactly how to do it. I spent a couple of days just shooting time-lapse sunrises and sunsets. I would show it to distributors and people out there. but she really loved the film and thought it was just a profoundly original piece of work. and said just wonderful things about the film. it’s off. And then the film went to the San Francisco International Film Festival. just painting the houses. So I ended up going into the mountains myself anyway. And he. Saturn Films. And I projected the film in her living room for like 21 of her closest friends.. It took me eight months to build the optical printer. And that’s what I loved so much about the script is that it was this great balance between technical innovation and great story-telling. “You know. He was very supportive of the film. Got to tell you–that soundtrack–that was something that Evan Album–he’s a guy that a friend of mine at the time. . And I just had this sort of “Well. And whether it was day or night. you’re lucky. Did Sontag get the film to Nicolas Cage somehow? How did Nicolas end up seeing it? Crispin Glover had given Nick a copy of “Begotten” as either a birthday present or just as a gift. and a 45-minute meeting turned into a three-hour meeting. and we realized that we all liked each other very much as people. ’cause I’d like to work with him. was very supportive. also. And Nick. That’s with film in the can? Yes. And with that film. with going from color to black-and-white and black-and-white to color? That was stuff that I saw from the first reading of the script. that was the idea that I didn’t want you to be able to tell the difference between the moon and the sun. That just drove me up the wall. She used the word “masterpiece”. I mean. News. had a friend of his who was painting people’s houses–not doing frescoes.M. I hate to use that word. and they would say. It doesn’t 12/01/11 . Tim McCann). That’s all. Everything has to be very exact. That’s where you get that big flat expansive [view].” And I know people that were really brutal. “We need to find this guy. who then called me up. he gave the videotape of “Begotten” to his partner at the time. they sent me the script to “Shadow of the Vampire”. and shooting some of those sunrises. you know. It’s just this idea: we have opposites just colliding and coming together.

did you let many people see it? And in the beginning. I’m not going to spend two or three years of my life on something that I’m half-hearted about. hey. when I finished it. Page 6 of 16 guy. “On the bass guitar. Because it was like.” ‘Cause when you talk to composers. When you think about that ratio of labor. “I’d like to listen to it. and feet walking on gravel in the autumn. The thing. At first. Mother Earth comes from behind him. This guy was functioning on a totally. And believes that it’s great. it was a major epiphany and pinnacle in my own consciousness. And there was never a moment that I didn’t totally believe in the film. it was not like that at all. for me. Born out of him. I always believed in the film. is almost sacrificing himself for the birth of the next generation. And it’s that sort of thing where. I was looking through the camera every single frame…. feet walking on gravel in the spring. like Susan Sontag. http://horrornews.. “Really? You compose music for the bass guitar. So I was very protective of it. you know? My take on “Begotten” is pretty clearly that this divine being. Who’s. is I that have to just be 300% in love with what it is that I’m doing. And then from that comes….” I said. Rocket Video had the film. Jerry’s Video over in Hillhurst that has the film as well. got a tough life. in the film.” I said. Just remember. they’re all like.” And I knew it was great. “Okay. Yeah. . Oh. Yeah. “On what? What instrument’s your instrument of choice?” He says. “This guy is the kind of person…. You were able to get it out there somehow? The film was distributed on VHS. And then ejaculates him…. but when you have it mirrored off of someone who is great. when Susan Sontag saw it. And… She’s sort of born from him in a very theatrical way. in making a film. because–this is going to sound a bit odd. this is my scary stuff. Inseminates herself. Now somebody who I’ve always revered and respected believes in my work.. which becomes Mother Earth…. And there was nothing in this tape. in the | Horror Movies. “Hey! This is the happy–this is my happy stuff. I was very protective of it. So people could buy it from Virgin Megastore. And that soundtrack took a year to do. it enables you to suffer all the crap that you have to go through to get a film off the ground. it would take me about 10 hours of time to get about a minute’s worth of screen time. And it was. And used all of them at different points in the film and orchestrated all of that in this careful kind of like mosaic within the film. And 24 frames in a second. there’s 24 frames in a second. it’s very intense. “Well. Actually. ’Cause there were people that hated the film and just didn’t care whether it got out there or didn’t get out there.” I go. and I was talking to him and I was just having regular conversation with him ’cause we were both waiting for Tim. I’ve never heard music composed just for the bass guitar. in this recording that sounded remotely like a bass guitar. but–we recorded the sound of feet walking on gravel in the winter. 12/01/11 . and he’s dead. Oh!” And with this guy. Almost an oppressive kind of way…. Comes this new world order. feet walking on gravel in the summer. And it was at that moment that I thought. of film. what do you do besides painting houses?” And “I compose music. I spent every frame–I mean. It wasn’t just myself that had to give them a copy of the tape.” So he gave me a tape. News. get something out of development hell and into reality. That’s how obsessively detailed that film was..Interview: Elias Merhige (Begotten) | Horror News. completely different plane of existence.” I go “Really?” ”Yeah.

News. And–but it’s the kind of thing where–with “Begotten”. But then begets greenery and the earth as we know it. It’s always sort of fascinating. that is now extinct.000 years ago. All these voices from the past definitely have influenced me to a very profound degree. a large | Horror Movies. I imbue it into my own blood and invigorate it with a new life and put it out into a new–in a new way. through film and–through the films that I’m making. I think that what’s happening in “Begotten” isn’t entirely pleasant. then certainly with the idea of creation as it exists in the Hebraic sense. that if you go in two opposite directions. the earth and the sky. So. Yeah. Yeah. and they…. ’Cause the world through Einsteinian physics is spherical–the universe is spherical. that had the technology with cinema. and was sort of a pre–predecessor to the world that we live in today. but it’s also upsetting. even though they didn’t know what they were doing. http://horrornews.. It’s just these themes of sacrifice and resurrection are in every culture and every age. that then gives birth to this new kind of. You see it in a lot of expressionist and symbolist paintings. I think that’s very beautiful what you just said. It’s interesting. who’s been born of Mother Earth and God. like. And they don’t realize it and they beat him and kill him. kind of “lepers” or whoever. I had little things growing. you 12/01/11 . this idea of circularity of time. child. Page 7 of 16 Well. And I feel like –that being inspired by these minds and by these works of art from hundreds of years ago. where Jesus was born to a world that didn’t appreciate him. I did a lot of that with time lapse. Here they have this naked thing. Almost–I’m not specifically a religious person–but I almost read it as a Christian metaphor of sorts. it’s the idea that–imagine that we had a culture. like 4. the patriarchal world. But the thing is. ’cause you have this. you’re eventually going to meet again. And I love art that is charged with both pathos and mythos. and it goes way back to be the pre-Christian ideas and. I always felt that. but also to Isis and Osiris. having been a big Nietzsche fan at the time. who’s a balance between the masculine and the feminine. like. it’s interesting. In a terrarium. Films. the German poet. to make movies. and then is ultimately sort of sacrificed…. and he died for the sins of all the others.Interview: Elias Merhige (Begotten) | Horror News. just to be sort of the outcast. And I took the band of quote. who don’t know what they’re doing. A small terrarium? No. exactly. I’m sure you did that on your optical printer. the idea of the eternal return. And he begets the rest. and you go back to Attus and Adonis. the marginalized and the decrepit of the earth. And they’re important themes. And in Goethe. giving birth to this matriarchal world.. the idea that everything is a circle or a sphere…. And I don’t think that’s off the mark. and in the Romantic poets like Byron and Shelley. sacrificing itself. too. in the Old Testament. When the earth was really new. you go not just to the mythology of Jesus.000 years ago or 10. And that you’re looking into a sort of archaeological discovery of this world. Also the elements in both of your films–regarding themes of sacrifice and all that–there’s also sort of a haunting feeling throughout both of the films. . And they don’t even realize it. And certainly Einstein’s theory of relativity. And you certainly see it in the romantic paintings. In that this new being died for their sins. And you see it in Arnold Bachland’s paintings. Which was a neat effect.

And that’s enough. Or at least he thinks he is. Page 8 of 16 No. I feel like it’s got its own life force. ’Cause I love that film. But it’s also kind of haunting. the fever broke. Films. and a reflection on things you said about current filmmaking. when the film was done. . http://horrornews.. really. And I learn something new from that film every time that I see it.. And same with “Shadow of the Vampire”. It’s always superinteresting. and every time I see the film. profound love. “ 12/01/11 . I don’t feel like its maker.” It was the kind of thing where I made “Begotten” just purely like a fever. It was somewhat of an obsession and a great.Interview: Elias Merhige (Begotten) | Horror News. and it passed. I never thought about. It was like a fever that hit | Horror Movies. making that film.” I can’t tell you how much I appreciate you seeing “Begotten”. and having an appreciation of that film. I’m going to go to Hollywood with “Begotten” and I’m going to be a big movie director. who has to suffer for others’ sins or whatever–it’s not the most pleasant thing ever. I’m learning something new from it. News. Much in the way that any martyr. “He really is a vampire. and is Schreck really killing them? And then you start to think. and then. too. These people are disappearing. Absolutely.

Films.. 12/01/11 . . Page 9 of 16 | Horror Movies.Interview: Elias Merhige (Begotten) | Horror News.

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Interview: Elias Merhige (Begotten) | Horror 12/01/11 . News. not ‘Antony Narto’.. 2010 Merhige is talking about Antonin | Horror Movies. • Search • Contact: news@horrornews.. Page 11 of 16 Article Author: PR Author Site: 1 Comment « Previous Post Next Post » • Chris 26 Sep. Log in to Reply Leave a Reply You must be logged in to post a comment. • http://horrornews.

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