On November 5, the Azerbaijan Union of Filmmakers (AUF) hosted a masterclass with film producers Lino Rettinger (Germany) and Jules Granger (France). Orkhan Aghazadeh, director of the feature film “The Return of the Projectionist”, and Daniel Guliyev, its cinematographer, shared insights into the film’s production. French producer Jérôme Baron and German producer Peter Stockhaus joined the event online. The masterclass featured in-depth discussions, recommendations, and analysis of filmmaking by European and local experts.
Speaking about his feature film, “The Return of the Projectionist,” Orkhan Aghazadeh told the audience that he initially planned to make a documentary called “Seats”. However, when he discussed this with Lino Rettinger, the producer advised him to write a treatment for a future film. Initially, Orkhan Aghazadeh found the idea of writing a treatment for a documentary unnecessary, but he later admitted that he was grateful for this recommendation. Lino Rettinger noted that a film’s realization depends heavily on the producer’s actions: “I understand it’s difficult for you to find a producer in Azerbaijan, but you can successfully search for one online.”
Although “The Return of the Projectionist” is a feature film, it is also rich with documentary elements. Jules Granger believes it’s difficult to predict the outcome of a documentary filmmaking process. He commended Orkhan Aghazadeh and Daniel Guliyev for their initiative in visiting filming location (the village) during the preparation phase and conducting test shoots. Orkhan Aghazadeh further elaborated, explaining that while conducting these test shoots on the location, they decided to make the film in such a way that would allow them to use the test footage in the final edit.
“It was important to acquaint foreign audiences with the specific features of Azerbaijan’s pre-independence period,” Orkhan Aghazadeh added, “So we also prepared the relevant texts.”
Jules Granger pointed out that the next phase for the film on its way to the big screen is financing, and that at this stage the filmmaker must be confident their expectations will not go unanswered. Lino Rettinger added that all parties involved have the right to pursue their own interests, but it’s wrong to remain in a waiting position.
Jérôme Baron, attending the event online, said the following:
“The selection process is a difficult one, as the film must meet certain requirements. The films we watch during the selection process shape our understanding. We have no set recommendations for filmmakers, as the number and methods of those involved in film production have increased and diversified. In 2008, we unanimously agreed to accept both documentaries and feature films. Even documentaries now have a narrative claim. It’s possible that a work by a completely unknown filmmaker may go to Cannes, Locarno, or Berlin, and this is becoming increasingly common. If we consider the film as an organism, it’s affected by many factors. As a recommendation, I’d say that when making a film, always consider your country and culture. The world isn’t interested in imitations. And pay special attention to the film’s sound atmosphere.”
Young filmmaker Samad Aghayev asked how political and ideological differences between France and Azerbaijan might influence film selection. The French producer responded, “For me, such a situation would be the end was near.”
Peter Stockhaus, who brought Orkhan Aghazadeh’s films to German cinemas, told the participants that when he saw “The Return of the Projectionist”, he didn’t think about which country it represented: “I saw nature, people, and cinema, and that was my priority. German audiences don’t like watching films with subtitles, so dubbing is essential. When selecting a film, I consider three things: Is it a good or bad film? Do I personally like it? And do I believe in its future? The main factor in selecting “The Return of the Projectionist” was the production company. Perhaps my and my country’s connections and relationships with the film played a decisive role in its selection.”
Samad Aghayev asked Peter Stockhaus what inspired him to pay attention to the film “The Return of the Projectionist”. The German producer replied, “I’m a cinema lover, and this film is about cinema.” Stockhaus’s answer about whether there was a distributor company supporting the films clarified that the distributor is crucial: “Without it, the film would be deprived of the screen. However, “The Return of the Projectionist” was already supported by festivals like Berlin and Cologne, so there was no need to reach out to other institutions, which was the right approach.”
The second part of the master class began with Lino Rettinger saying, “Imagine you have all the resources you need and it’s time to start filming.” Orkhan Aghazadeh explained that they used a phased shooting approach: “I’d planned this from the beginning, and that’s exactly what I did. The film reflects all four seasons.”
Lino Rettinger emphasized that no one can coerce anyone here. “There can only be a shared understanding. “The Return of the Projectionist” was an example of a large-scale filming with a small crew. At this stage, the main thing is to forget the treatment. The next important step is to find the person who will be the protagonist and reveal the inner world. Also the film crew should have its own rules and code of conduct.”
Cinematographer Daniel Guliyev, while discussing the specifics of the filming, said that the difficult roads in the village made it impossible to plan the shooting schedule. However, this difficulty had a positive side—the opportunity to better explore the location. He emphasized the importance of not getting lost in the story during the filming process.
Lino Rettinger: “There are two types of films: TV films and art house films. The first requires a sequence, the second doesn’t. The main thing is to find your own unique narration voice.”
When asked by Samad Agayev about his doubts and fears after deciding to produce this film, Rettinger said, “Doubt is always there and that’s normal. My main fear was whether the film crew would maintain their energy and motivation for the next stages.”
In response to Sarkhan Jafarov, a young film producer, Lino Rettinger said that taking part in the creative process is very important for him. He also likened the editing stage to planting a seed and watching it grow.
“This film was originally planned to be three hours long. The production period should have taken eight months, as required by documentaries, but we did it in half the time. They say that the director is the author of a film. I disagree. A film is like the child of the entire creative team. They raise this child for the audience. It’s crucial that the feeling you experience watching the film before and after editing remains consistent. In this regard, editing with photos is a highly suitable method.”
Picking up where he left off, Orkhan Aghazadeh said that after a while, his focus shifted towards the technical aspects of the film. He wondered which edits were necessary to retain only the successful footage. Lino Rettinger suggested that they should show the film to a focus group after everyone on the crew is on the same page. This will also help to clarify the film’s overall value.
After the master class, Lino Rettinger shared his advice for young Azerbaijani filmmakers on project presentations, namely:
- Before presenting your finished project, it is always a good idea to show it to a friend first.
- There is no need to be overly precise about the runtime, as this can lead to disagreements with producers.
- The film title should grab the viewer’s attention.
- If there are any conflicts in the film, they should be clearly defined.
- The synopsis should follow an ascending linear narrative.
- The language should be simple and clear.
- The viewer should be able to sense the impact and nature of the story on their own; you should not direct them through the title or explanatory subtitles.
The master class, or “workshop” as our guests would say, was a valuable exchange of ideas and advice for those interested in cinema.
Samira Behbudgizi