2012 — Clan
This is straight drama, not black humour? It’s also a bit of a hybrid. In fact, it’s a psychological thriller combined with an indepth human drama. But we also play with the fact that, because our main character suffers from amnesia and psychosis, sometimes she can’t tell the difference between her imagination – what she thinks has happened – and reality. So, as a viewer, you are stuck in her head and experiencing things the same way that she experiences them. You don’t know if this is really happening or is it just in her head. The thriller part is that she is the only person who can identify someone? Yes, there’s a man who goes missing and she is the last person who was seen with him, so she is the main suspect – actually more of a witness, because there is no evidence that she has done anything; but she is the sole key to solving this missing person’s case. The problem is that, when she sees his picture, she’s like, ‘I’ve never seen him before’. Then she has to really dig into the maze of her recent past to find out what has happened to him. How has it been? I’m very excited. When you are dying to start the editing process, that’s usually a good sign. We will be finished early April, then the rest of 2016 will be spent in the editing room. You’ve worked in television for 15 years now: do you ever see yourself working in film? You know, film has always been my first love. I only got into television fiction because I saw The Sopranos and Six Feet Under, and realised they were really changing the television landscape in the US. And I think that has happened in Europe, too. But a television series takes three or four years of your life: the whole development process, writing, shooting, editing… I might be ready for a shorter process now. Film is also different creatively in the storytelling: there’s a smaller attention span than 10 x 50 mins. To tell a story in a movie format is quite appealing, actually.
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