More in this project
- Matthew Gode, Can You Hear Me
- Andre Bato, Stockholm Syndrome: Les Enfants Riches Deprimes SS 17
- Alexandra Kennedy and Brendan Brulon, ALXVNDRA A/W 17
- Boyhood Garments Official, My Ideal Brothers
- Kenji Hirano, Lepus Cornutus
- Michele Foti, My Beautiful Laundrette
- Adam Csoka Keller, Echtes Leder
- Jeaneen Lund and Barði Jóhannsson, Sacred Universe
- Regina Sepp, I Don't Need It
- GVN908, Gravity
- Yuen Hsieh, Xiu Long
- Sylvyen Nazaah, Bisou
- Ela Kaçmaz, Istanbul, 400 Lira
- Jayne Lies, Wonderful Law
- Laura Searle, Litost
- Candice Lo, Whoever, Wherever, Whatever.
- Nüesch Sisters, Moon Girls
- Egor Novikov, BASIC
- Victor Claramunt, Breaking Rules
Regina Sepp, I Don't Need It
Regina Sepp, I Don't Need It
Georgina Evans: Tell me about the making of I Don’t Need it, how did the film come about?
Regina Sepp: Weval is a band that I already followed for quite some time, this song really inspired me. Both the lyrics and the music moved me, I immediately got visuals in my mind for a film. For me, the song is about taking charge of your own happiness by deciding to ignore the negativity in your life. I see this song as a letting go of anything that drags you down emotionally.
That kind of mindset made me think of sports, working with the power of your body and mind, taking the time to do so - making yourself stronger. The video takes place on a rooftop, where you are literally high up, in a powerful position. This is also why I chose to give this video a clean, minimal and fresh look. It illustrates the feeling of clarity you gain once you're rid of toxic thoughts. He’s alone there, expressing this new mindset through dance. At one point the 'cleansing' motif becomes literal when he splashes water over his face.
GE: You are Director, Producer, Art director and Editor for this film - How do you juggle each role on set?
RS: I am involved with all of those roles during pre-and post-production, but on set I am mainly focusing on directing. It’s quite tempting for a director to want to do everything yourself, to have the full control over the project, but I’ve learned that working with a strong team gets you to a stronger result. I have been lucky enough to find a team around me of people with individual strengths that complement each other, that’s why we have a great dynamic. Our DOP, Andrea Casetti has skills that complement my conceptual creativity. Our producer Wara Juana Gutierrez Mamani’s communication skills and organisation add to the process. Our art director Yalda Bagher adds more in-detail visual value to the film. It’s a rare thing to find such a good match.
GE: Can you describe the role of the model in your work?
RS: I chose Marne van Opstal as my model for many reasons: because of his high fashion, interesting look, his kind personality and most of all his extraordinary talent of body movement. We were so lucky to have him on board, as he is an established professional dancer of the Dutch National Dance Theater. He found the time to create the choreography for the film, which brought my vision to life, really. For me it was the first time I worked with a dancer instead of a model and it’s fascinating how aware he is of his body.
GE: How do you approach the inclusion of fashion in a shoot?
RS: The fact that I graduated with a fashion degree instead of film, gives my work naturally a fashion feel. I don’t necessarily think about it, I don't consciously put fashion in, it is just how I see things visually, I just make them the way I think they look beautiful. I think what makes a film a fashion film is not just having designer clothes in it but more importantly strong art direction. Fashion film could also be without the clothes or even the people, it's more about the look and feel it has as a whole.