When designing the sound, what were your core ideas? What interested you? Sound design is one of my preferred parts in filmmaking. Basically, from the minute I start working on the film, sound is fundamental to creating rhythm, tone, atmosphere, movements and feelings of the characters.
To play with the details of the textures, textiles, drops, moves, to create the off-spaces which were contributing to the storytelling and suggest the omnipresence of the humans. We paid attention to sonar elements which are unheard in reality, the touch of the skin, rustling of the clothes, body moves, footsteps, breath, all these elements that bring characters closer and make them visceral and present. What was your design for camera movement, and how did that interact with the editing?
Already while writing the screenplay, I was thinking about how it would be shot and edited. Every scene has many details. The film is a slow peel process, if you cut too quickly layers can get lost. While working on editing with Aghesh Pakozdi, my cinematographer for the last five films, we decided to shoot the story with as few cuts as possible. The cinematography unfolds the story in a cautious, attentive and sensitive way. The camera takes a distanced position with its characters, showing them in relation to their environment and it rarely goes closer.
The editing process aimed at focusing on and finding the right rhythm and atmosphere in the material that we delivered. Some of your films tells stories with a clear interest in their Georgian background.
As in this film, they portray not just main characters but a society. Could you comment? All my works are portraits of people in society. There is no individual without relation to the world, direct or indirect.
