Interview with Oscar Vazquez & Richard Kelemen

First off, Who are behind the directing duo of Oscar Vazquez & Richard Kelemen and how did the passion for filmmaking begin?

Richard: My journey started with my first degree in photography. After that, I studied media design in Budapest, Hungary. I was fortunate enough to win a scholarship to come to the US for two semesters, where I met Oscar. I tried my hand in various forms of art, and it seems to me that what photography lacks most is time, a quality that cinema possesses.

Films serve as great platforms for combining music, literature, theater, and various other art forms. This, I believe, is why I decided to pursue it as a career. Many people forget this, and they fail to draw inspiration from other mediums. The medium is just the vessel, its the ‘‘how.’’ You need to discover the ‘‘what’’ elsewhere. One of my significant influences is Jean-Luc Godard and his use of this medium. His philosophy revealed to me the potential of film, and, in my opinion, there are few names as influential in filmmaking as his. As for the content, David Bowie’s words resonate deeply with me, as they succinctly capture the essence of my artistic philosophy. He once said, “Always remember that the reason you initially started working was that there was something inside yourself that you felt. If you could manifest it in some way, you would understand more about yourself and how you coexist with the rest of society.” This sentiment serves as the core of my approach to making art.

Oscar: I’m a 23 year old Filmmaker going for my BFA in Fimmaking at Montclair State University. When I was little I used to play pretend with my friends saying things like “I’m a rockstar! I’m a movie star! Let’s go make an action movie!” I also used to make little comic book stories with my friends. I watched a lot of cartoons growing up as well and I’ve always loved storytelling. Whether that be through TV, video games, movies, or music.

But of course, growing up in a less fortunate family, I was told to focus on subjects that would land me a real job like Computer Science, which is exactly what I originally wanted to study. In middle school and highschool I’d play many video games, making youtube videos on those games so I grew accustomed to video editing. It slowed down and stopped fully when I got to college and studied CS for 3 years.

But eventually, that wasn’t fulfilling enough so I went back to my roots! I knew a little bit about cameras and editing, and loved storytelling so it was a recipe for success. Through the marketing job I had on campus, I met Richard and we’ve worked on many films together; Apple Pie being the third one of ours that we’ve worked on. He’s been sort of a mentor figure when it comes to filmmaking, and we bring the most creative parts from each other.

Can you tell us about your previous work ?
Richard: Filmmaking is still a relatively new experience for me. ‘‘On Fire’’, a short film I created in 2022, was my first attempt at directing and screenwriting. Making that film taught me valuable lessons, not only about the craft of production but also about myself. I am continually in the process of refining my artistic voice, a journey I believe will continue with each new project until my very last one. I believe that every time I have created something valuable in my eyes, they’ve always evolved around emotions, rather than rationality, which is hard for me, given my analytical nature. One theme that consistently intrigues me is the complex connection between the individual and the broader world, energies all around us, the concept of God, and other profound aspects of existence. But I’m not religious or anything. However, I find great value in exploring different moral perspectives across various times and spaces. Another theme that deeply resonates with me is the pursuit of inner balance, mostly by having integrity towards yourself. This theme played a significant role in influencing a kinetic installation I made a couple of years ago called ‘‘Out of Balance’’. In this installation, a clay brick delicately held a single leaf, swayed by fans from both sides, creating a rhythmic seesaw effect. Achieving this kind of simplicity is a cornerstone of my art, and my aspiration for future works is to further embrace this elegant balance.

Oscar: I’ve been involved with many more marketing productions through the Feliciano School of Business than student films, so most of my technical knowledge comes from there. As far as short films go, I’ve written and directed two. My first one, ‘Finale’, Richard was DoP on and ‘Apple Pie’ we co-wrote and co-directed. I was also 2nd Assistant Director on Richard’s ‘On Fire’. We’ve worked on a few other paid sets, as well as passion projects with our mutual friend and former boss, GianCarlo Fernandez. He was a story consultant for all three projects previously mentioned. All of us, I feel, approach and appreciate film to similar degrees and each project we learn more about each other and learn more from each other.

CONVERSATION ABOUT: APPLE PIE

What inspired the touching and relatable story of ‘‘Apple Pie’’ ?

We blended our contrasting perspectives, although our shared stubbornness made this process a work of art in itself. The primary focus was on the theme of losing faith, not only in oneself but also in a higher power. Our protagonist, Maria, confronts the fact that she can no longer seek guidance, as the weight of responsibilities, including motherhood, rests solely on her. She assumes the roles of parent and, in a child’s eyes, God. Yet, she also grapples with a loss of faith in her own beliefs, facing life’s uncertainties alone. This situation introduces a moral dilemma of determining one’s path, as no external rewards or punishments exist. For this, the inspiration is a Hungarian poem by Attila Jozsef, encapsulated in two lines: ‘‘Why should I be decent if I’ll be laid low anyway? Why should I not be decent if I’m laid low anyway?’’

Talk to us about your film? How was it created?

In the making of ‘‘Apple Pie’’we encountered some significant limitations, primarily revolving around the availability of the diner, the sole location for the movie. We were granted access for only a few hours at a time, resulting in a total of 16 hours of shooting. Consequently, our pre-production required an exceptionally high level of precision to fit within this limited time frame. Both of us conducted a thorough site visit in advance, meticulously planning the placement of actors, lighting, and the camera for each scene. Instead of breaking the scenes into numerous cuts, we opted for single long takes, which allowed us to shoot the film more thoughtfully and consciously.

Talk to us about the stylistic choice of using Black/White ?

We both favor shooting in black and white for several reasons. It enables the creators to place a stronger emphasis on shot composition and lighting. This choice is particularly advantageous for low-budget films where color temperature and tints can become less of a critical factor to the narrative. Black and white also guides the audience’s focus more effectively, aligning with our storytelling objectives. Moreover, given that the film delves into Maria’s existential struggles during a time of despair, the absence of color resonates with her emotional state. We believe it conveys her feelings more effectively. Lastly, the monochromatic palette ensures that the film isn’t confined to a specific era, offering a more universal appeal.

What are some difficulties and advantages of a directing duet ? Talk to us about your filming experience.

We come from vastly different cultural backgrounds. A Hispanic American heritage in New Jersey versus roots in Eastern Europe. Our collaboration is a unique blend of blessings and challenges. With strong opinions and differing tastes in style and storytelling, we often find ourselves on opposite ends of the spectrum. In order to bridge these gaps, we’ve learned to articulate and discuss every decision we make, even if it can be a bit demanding. This approach prevents us from simply going with what seems ‘‘cool’’. Instead, it results in a more deliberate set of choices, enabling us to gain a deeper understanding of each other and ourselves. We’re compelled to provide solid reasoning for our ideas, engage in extensive discussions, and this is where we experience the most growth. Moreover, it helps us explain our decisions to others in a more effective manner and get inspired from each other’s backgrounds’’

What is the target audience of your project?

Maria, coming from an ethnic background and a working-class family, embodies struggles that resonate deeply with those grappling within our socioeconomic system. However, as our film delves into existential themes, it transcends these specifics to become universally relatable. Her inner turmoil, the loss of faith, can be viewed as a reflection of humanity’s shift away from spiritual matters. The pervasive influence of capitalism has shifted people’s focus towards materialism, where personal power is solely tied to consumerism. This transformation has replaced communities with individualism and marketed its benefits as ‘services’ to the public. This shift has made it increasingly challenging to prioritize true long-term happiness over concerns like credit scores and insurances. Amidst this turmoil, Maria, a waitress, is often treated as a disposable asset, easily replaceable. In summary, our target audience is those who seek authenticity in a world of artifice, yearning for generosity and a sense of community. This isn’t for those looking to switch off their minds for a mere 15 minutes, it’s for those ready to depart with questions in their hearts’’.

What is the message the audience should convey leaving the screening of your film?

We’d be pleased if they left the room with questions rather than definitive answers. In our view, the role of filmmaking and art is to stimulate debates rather than unify the audience. That’s more for theme parks. There isn’t just one specific aspect but rather a multitude of themes in the film. Among them, we can consider topics such as how we interact with others, the roles we assume in society, and whether the current socioeconomic structure best serves our needs.

Any upcoming projects in the near future ?

Richard: Not together, at least for the time being. After encountering significant challenges in securing visa sponsorship in the US, I made the decision to let go of that pursuit for now. I have since relocated back to Europe and am currently not actively seeking opportunities to return. However, we remain open to the possibility in the future. Presently, I am personally conceptualizing an idea for my next project that delves into the clash between morals and legislation, dignity and justice, set in Hungary. That’s all I can reveal for the time being.

Oscar: Currently, I’m working my way through pre production for my Thesis film. The story revolves around these two brothers with an alcoholic father and absent mother, trying to repair their family best they can. I’m currently casting and securing locations, shooting some short promos for crowdfunding. I’m working with a co writer for this project, and I’m going to be shooting his thesis along with two other friends of mine. I’m very much looking forward to graduation as my availability will mean more opportunities, and in light of the writer and actor strikes ending there will be plenty. I feel this industry is in a unique position for my peers and I. Plenty of sets and plenty of more connections and projects. I’ll also be working on music production projects, and other passion projects such as youtube video essays about pieces of media I adore.

That was the interview with our beloved creators Oscar Vazquez & Richard Kelemen. Our community is rising everyday, new talented filmakers and screenwriters get onboard. Be sure to check the rest of our interviews and why not schedule one for yourself to promote your work.

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