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앵글매거진은 남한에서 재능 있는 많은 예술가들을 소개하고, 수상 경력에 빛나는 온라인 간행물이다. 우리는 계속해서 우리 주변에 있는 놀랍도록 창의적인 집단사회에 의해 영감을 받고, 그들의 작품들을 특집이나 미디어, 엄선된 내용을 통해 알리려고 한다. 가장 독특하고 흥미로운 아티스트, 자신의 분야에서 이제 막 시작한 신예 아티스트들을 알기 원하는 사람들이 우리 잡지의 구독자이다.

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Angle Magazine is an award-winning online publication that showcases the multitude of talented artists in the southern half of Korea. We are constantly inspired by the amazing creative community around us and seek to shine a light on their work through features, original media, and curated content. Our readers come to us to find the most unique and exciting artists across all mediums, both emerging and established, right in their own back yard.

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....매튜 릇..Matt Root....

....매튜 릇..Matt Root....

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Matt Root는 대구에서 사는 영국 출신의 독립 영화 제작자이다. 우리는 지난 4월에 대구의 시내에서 종일 내내 열리는 축제인 Big Day South를 위해 다큐멘터리를 열심히작업하는 중이던 그를 만나 보게 되어 굉장히 기뻤다. 우리는 낯선 곳에 처음 온 사람으로써 메이킹 필름의 상세한 내용에 그의 아이디어를 담기 위해 Matt에게 다가갔다

당신에 대해 소개해달라.

내 이름은 Matt Root이고 영국에서 왔다. 2011년에 팰머스 컬리지 대학교에서 영화계열 전공으로 졸업했고 그 이후 대구로 와서 생활하고 있다.

영화 제작을 선택한 특별한 이유가 있는가? 그리고 무엇이 혹은 어떤 매력들이 당신을 계속 붙잡아놓는가?

무엇이 영화에 대한 나의 흥미를 촉발시켰는지는 말하기란 어렵다. 내가 생각하기엔 내가 어렸을 때 봤던 굉장히 많은 영화들과 관련이 있는 것 같다. 그리고 더 자라면서는 영화제작하는 과정에 대한 궁금증이 커졌다.

내가 고등학생 때, 나와 내 친구 두 명, 셋이서 스케이트 보드 타는 것을 찍고  영상 편집을 시도했다. 그때엔 우리는 편집하기 위한 아무런 세트도 접하지 못했다. 결국 스스로의 조잡한 편집 방식을 이용했다.

이런 경험들이 카메라를 VCR 플레이어에 연결하도록 만들고, 그러면서 우리는 그 큰 VCR 카세트 테이프에 영상을 녹화하게 되었다. 우리는 짧은 영상들 사이사이를 편집하기 위해 녹화를 잠시 정지시켰다가 다음 영상을 찾고, 그러고 난 다음 다시 녹화버튼을 눌러야 했다.

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Matt Root is a British independent filmmaker living and working in Daegu. We had the pleasure of meeting and seeing him in action while hard at work on a documentary for Big Day South, the all-dayer held in downtown Daegu this past April.  We caught up with Matt, and used our chance to pick his brain on the ins and outs of making films as a stranger in a strange land. 

Tell us a bit about yourself.

My name is Matt Root and I’m from England, UK. I graduated from Falmouth University College with a BA degree in Film back in 2011 and have been living in Daegu since then.

What drew you to film? And what about it keeps you in its grips?

It’s difficult to say what really sparked my interest in film. I think it had a lot to do with watching a lot of films as a kid, and then growing older and more curious as to the process behind them. 

When I was in high school me and a couple of mates used to film ourselves skateboarding and attempt to edit the footage together. Back then we didn’t have access to an editing suite. We used our own shoddy method of editing. 

This involved hooking the camera up to a VCR player and recording the footage from the camera to one of those huge VCR cassette tapes. To make the edits between each clip we would pause the recording and search for the next clip, then hit record again.

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MattRoot

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대학에서 나는 영화/미디어의 수업 코스를 많이 들었고 그것이 내가 영화 제작자의 더 기술적인 면을 배우기 시작한 시작점이다. 대학을 마쳤을 때, 나는 한 팀의 일원이었는데, 그것에 시간을 많이 쏟았다. 이곳 저곳 많이 돌아다녔다. 그래서 대학에 들어가서 영화계열의 학위를 추구한 3년까지도 영화를 위한 시간이 많이 없었다.

나는 실질 촬영술에 집중한 것 보다 오디오나 소리에 더 집중했다. 왜냐면 나는 여전히 음악을 하고 싶었기 때문이다. 그러나 이런 옵션을 선택한 것이 나에게 잘 되었다.왜냐하면 그것이 내가 감독들이나 카메라 감독들과 함께 할 수 있도록 해주었기 때문이다.

대학교를 마치고 나와서 현실세계로 돌아왔다. 하지만 마땅한 일자리가 없었기 때문에 한국으로 와서 1년간 영어를 가르치기로 결심했고,  영국의 취업상황이 빨리 좋아지기를 바란다.

한국에 있는 동안 여전히 영화를 만들기 원했고 꾸준한 수입 덕분에 실제로 그럴 수 있었다. 하지만 그 당시 카메라가 없었기에 내 첫 단편영화를 만들 수 있도록 도와줄사람을 찾아봤다. 

 내 첫 영화를 만들고 머지 않아, 나를 도와 촬영했던 사람은 한국을 떠났다. 이 때문에 나는 나의 첫 카메라를 샀고, 촬영술에 관해 심도 있게 배울 수 있는 계기가 되었다.  3년간 카메라를 비롯한 장비를 한단 계 더 좋은 것으로 업그레이드 하였고, 내가 기대했던 것 보다 훨씬 더 많은 영화와 작품들을 만들었다.

영화제작을 계속 하게끔 해 준 것은 영화제작에 있어 항상 새롭고 도전할 만한 것이 있다는 것이었고, 특히 다른 나라에 있다는 것은 여전히 나에게 좋은 영감을 주었다.

매일 나는 영화나 다큐멘터리에서 근사하고 멋졌던 것들을 잘 관찰하고 그것들은 내가 단편영화나 다큐멘터리를 만들 때 쓰일 새로운 아이디어를 준다.  또한 영화에 쓰여진 새로운 기술들을 시도 해보고 싶고 그것들이 어떻게 완성되었는지 자세히 알고 싶어진다.

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At college I was exposed to courses in film and media and that is where I began to learn more about the more technical aspects of filmmaking. Once college was done with, I got involved in a band and devoted a lot of time to it. We toured a lot, so not much time was left for film, until three years later when I went to university to pursue a degree in Film.

I focused more on audio and sound design than I did actual cinematography. This was because I still wanted to do music of some kind. However, choosing this option worked out well for me because it allowed me to be on set with directors and cinematographers, whom I learned a lot from.

After university it was back into the real world, but I had no job to go into so I decided to come to Korea to teach for a year, hoping the job market in the UK would improve in time.

While in Korea I still wanted to make films and was able to, due to having a steady income. I didn’t have a camera at the time though, so I searched for someone that could help me make my first short film (Azaleas, 2012).

Not long after making my first film the guy who shot if for me left Korea. This prompted me to buy my first camera and learn more in depth about cinematography. Now 3 years down the line I have upgraded my camera and equipment a great deal and seem to be making a lot more films/productions than I ever thought I would.

I guess the thing that keeps me gripped on filmmaking is that there is always something new to try out or to film, especially being in a country that is still somewhat foreign to me. Everyday I see something that I feel would look great in a film or documentary and that gets me thinking about a new idea for a short film or documentary. Or I will see a new technique used in film that makes me want to try and figure out just how it was all achieved.

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Stompy Ruffers: The Deported

Stompy Ruffers: The Deported

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현재는 어떤 일을 하고 있나요?

현재로서는 한국과 일본간의 독도분쟁에 관한 다큐멘터리에 깊이 관여 하고 있다.  한때 한국에 살며 현재 화두가 되는 논쟁에 관해 매료된 미국의 감독 Matt Koshmrl가 제작하고 있는 장편 다큐멘터리다.

그는 이번 여름 다큐촬영을 위해 한국으로 돌아왔으며 나를 그의 영화 촬영기사로 고용했다. 첫 촬영은 Matt Koshmrl가 여전히 미국에 있었던 지난 2월에 시작됐다. 그리고 그는 주한일본대사관 앞에서 다케시마의 날 항의하는 것을 촬영하기 위해 서울로 나를 보냈다 . 그것은 상당히 흥미로운 날이었다.

현재 우리는 전체 팀원들이 한국에 도착한 시점에 있고, 한국 전역에 거쳐 촬영하고 인터뷰하고 있다. 우리는 몇 주 안에 독도로 가서 섬에서 며칠간 생활하고 촬영할 계획이다.

독도 방문시간이 30분으로 한정되어 있는 것 때문에 대다수의 한국인들이 독도를 방문할 기회를 갖지 못한다. 분쟁의 근원지에 갈 수 있다는 것과 두 국가 간에 왜 이 섬을두고 경쟁하는 지를 이해할 수 있는 기회를 갖는 것이 아마도 제작에 있어 나에게 가장 흥미로운 점이 아닐까 싶다.

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What are you working on right now?

Right now I am heavily involved in a Documentary about the dispute between Korea and Japan over the Dokdo islands. It is a feature length documentary that is being directed by American director, Matt Koshmrl, who once lived in Korea and became fascinated by the ongoing dispute.

He has returned to Korea for the summer to shoot this documentary and has hired me as his cinematographer for the project. Initial filming began back in February, when Matt Koshmrl was still in the USA, and I was sent to Seoul to film the Takeshima Day protests outside of the Japanese embassy. That was an interesting day for sure! 

Now we are at the point where the entire crew has arrived in Korea, we are filming throughout the country and interviewing the subjects. In the coming weeks we will be heading to Dokdo to spend a few days living on the island and to film.

This is something the majority of Koreans don’t get the opportunity to do as the island visiting time is usually limited to 30 minutes. I think this may be the highlight of the production for me, as it will give me the chance to go to the source of the dispute and perhaps understand a little more about why this island is so contested between the two countries.

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Dokdo

Dokdo

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당신은 영화 제작에 있어서 서사영화와 기록영화 중 어떤 성향이 더 짙은가? 우리는 당신이 한국에 오기 전부터 두 가지 모두에 관심이 있다고 알고 있다. 그와 관련된 경험들을 들려달라.

사실 난 영화제작에 있어 서사적 경향을 가진 것 같다. 제작 전의 과정은 최종 목표에 대한 이미지를 갖게 해준다. 이는 내게 때때로 무언가를 어떻게 해야 하는지 조사하도록 도와주는데 이러한 것은 영화제작에 대한 지식을 넓혀준다. 이런 점이 개인적으로 더 즐길 수 있는 이유이다.

그러나 이 말이 곧 내가 기록영화를 즐기지 않는다는 뜻은 아니다. 다큐멘터리는 내가 항상 제작하고 싶어하는 것이지만 기록할 만큼 충분히 설득력 있는 주제를 찾아낸적이 한 번 도 없다. 독도 다큐멘터리에 참여하게 되면서, 이는 내가 다큐멘터리에 대해 더 생각해보도록 만들었고, 한국에 있는 동안 내가 모은 아이디어들을 어떻게 기록해야 할지 알게 되었다. 

다른 영화제작자들과 관계된 적이 있는가? 어떻게 시작하게 되었는가?

다른 영화제작자들과 관계를 맺게 된 것은 한국에 맨 처음 도착했을 때 다소 문제가 되곤 했다. 내가 만난 많은 이들은 영화제작이라기 보다는 영화 모임으로써 영화를 감상하는 데에 더 관심 있어 했다.

그리고 나서 나는 많은 외국인 및 한국인 영화 제작자들과 접촉했다. 내가 만난 많은 한국 제작자들은 내가 가르친다는 사실에 관심을 가졌고, 영화 업무에 긴 시간을 들인다는 것도 흥미로워 했다. 이것은 한국 전역의 영화 제작자들과의 인적 네트워크를 넓히는데 많은 도움이 되었다.

내가 영화 프로젝트의 팀원을 모집할 때, 이 프로젝트에 조금이라도 흥미를 느끼는 이들이 보았으면 해서 페이스북에 종종 광고를 게시했다. 나는 또한 영화 제작에 경험이 전혀 없지만 도전하길 원하는 모든 사람들을 반겨주었다. 실제로 나는 내 영화를 위해 함께 일했던 프로듀서들을 항상 이런 식으로 만났다.

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Do you find yourself more inclined to narrative or documentary filmmaking? We see you’ve been involved in both since arriving in Korea. Tell us about those experiences.

Deep down I feel I am more inclined to narrative filmmaking as I feel the pre-production process allows me to have a vision of the end goal. This is something that I personally enjoy more, as it sometimes requires me to research how to do things, therefore expanding my knowledge of filmmaking.

However, that doesn’t mean I do not enjoy documentary filmmaking. Documentaries are something I have always wanted to make but have never found a topic compelling enough to document. After being involved in the Dokdo documentary, it has allowed me to think more about documentaries and how to document the ideas I’ve collected while in Korea.

Has it been hard connecting with other filmmakers? How did you go about it?

Connecting with other filmmakers used to be somewhat of a problem when I first arrived in Korea. A lot of the people I met were more interested in watching films as a film club rather than making films. 

Since then I have connected with a lot of expat and Korean filmmakers mostly through the work I have done and had showcased at festivals. A lot of Korean filmmakers that I have met were interested in the fact that I teach yet have the time for film work. This has helped me expand my networking with filmmakers throughout the country.

When I gather a crew for my film projects I usually put out ads on Facebook groups to see if anyone is interested. I also welcome people who have no experience in filmmaking but are willing to give it a shot. Actually that is how I met the producer I always work with on my films. 

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Dokdo

Dokdo

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독립적인 영화 제작자들은 모두들 창의에 있어서 제한 없는 자유를 가진다. 그러나 그와  시에 영화를 제한적으로 만들어 내기 때문에 욕을 먹는다. 당신은 이러한 문제에 어떻게 접근할 것인가?

내가 항상 겪는 가장 큰 문제는 배우들은 찾는 것이다. 특히 한국 배우들을 찾는 것이다. 이것이 나의 가장 큰 고민이다. 왜냐하면 나의 한국어 실력은 별로 좋지 못하고, 나는 한국 배우들을 어디서 찾아야 하는지를 모르겠다.

또한 거의 대부분의 배우들은 서울에 살고 그들에게 보수를 많이 주는 큰 예산의 작품이 아니면 대구로 일하러 오는 것을 망설인다. 그래서 비전문적인 배우들이나 경험이적은 배우들이 생겨나게 되는 것이다.

내가 만드는 작품들을 위해서, 투자금은 내가 가진 돈보다 훨씬 많이 들어간다. 그래서 때로는 배우들이 받고 싶어 하는 금액을 다 주지 못한다.

나의 첫 번째 단편 영화인 “Azaleas”는 한국인 배우들로만 만들어졌다. 그런데 배우들을 찾는 과정은 나에게 (악몽처럼) 힘든 일이었다. 운이 좋게도, 나를 찾는 데 많은 시간을 쓴 한국 프로듀서가 있었고 그 덕분에 나는 드디어 한국 배우들을 찾았다.

그 영화는 배우들을 구하지 못해서 거의 취소될 뻔 했다. 그러나 프로듀서가 영화를 시작하기로 계획한 날의 불과 며칠 전에 마지막 여배우를 찾아냈다. 내가 상상했던 일은 아니었다. 왜냐하면 나는 앉아서 그녀를 인터뷰하고 오디션을 볼 기회를 갖지 못했기 때문이다. 그러나 나는 내 첫 번째 영화를 만드는 데 있어서 될 대로 되라는 식이었고/자포자기한 상태였고, 어쨌든 우리는 영화를 계속 만들어갔다. 하지만 알고 보니 그녀는 환상적인 배우였고 그래서 감독하기가 매우 쉬웠다. 그래서 나는 그 영화를 완성해낼 수 있었다. 

내가 자주 겪었던 또 다른 작은 문제는 바로 장비였다. 대구에는 고작 몇 개의 장비 대여점만이 있었다. 그러나 때때로 그들의 장비는 불량이었다. 그리고 실제로 장비의 제작은 우리가 재촬영을 하도록 만들었다. 그러나 배우들과 직원들이 대구가 아닌 곳에 있거나 다른 약속이 있어서 재촬영에 어려움을 겪었다. 이 문제들을 해결할 유일한해결책은 일을 열심히 하는 것과 장비들을 내가 직접 사는 것 뿐이었다. 

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Independent filmmakers are simultaneously blessed with unlimited creative freedom, but at the same time cursed by production limitations. What’s your approach to facing this challenge?

The biggest challenge I always face is finding actors. Especially Korean actors. This is mainly because I don’t know where to look, as my Korean skills are not that great. 

Also it is because most actors live in Seoul and can be reluctant to travel to Daegu unless it is for a big budget production that would pay them generously. This has proved to be the case even with non-professional actors or actors with little experience.

For the productions I do, the funding is completely out of my own pocket, so sometimes funds can’t stretch to what they would like to be paid.

With my first short film, Azaleas, it was a 100% Korean cast and finding actors was a nightmare. Luckily, I had a Korean producer who spent a lot of time searching for me and eventually found actors

The film nearly got cancelled due to not being able to find actors my producer managed to find the last actress a few days before the dates we planned on starting filming. This wasn’t ideal, as it didn’t give me a chance to sit down and interview or audition the actress but I was desperate to make to my first film so we went ahead anyway. It turned out that she was fantastic and so easy to direct, so I managed to complete the film.

The other, smaller, problem I am usually faced with is equipment. There are a few equipment rental places in Daegu but sometimes their equipment is faulty which really hampers production as it requires us to schedule re-shoots, which can be a problem if the actors/crew are out of town or have other commitments. The only real solution I have found for this is to just work hard and save hard to buy all of my own equipment.

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Azaleas

Azaleas

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실화를 바탕으로 한 영화(서사영화)를 제작할 때 무엇에서 영감을 얻나?

내가 서사영화를 제작할 때, 주로 일상적인 일에서 영감을 얻었다. 그 일상적인 일은 아주 간단하고 인식하지 못하는 일들을 예로 들 수 있다. 특수효과들을 이용해서 관객들에게 강한 인상을 준다거나 혹은 관객이 기대하는 할리우드의 블록버스터급의 어떤 것도 실제로 영화에 담아내지 못했다. 내가 본 영화들 중에 가장 인상 깊었던 영화는 사회적인 이슈들을 담고 대부분의 사람들이 잘 알고 있는, 그들이 실제로 경험할 수 있거나 그들의 삶과 관련이 있는 이야기들을 담은 것들이었다.

누가 또는 무엇이 당신의 시각적 스타일에 영향을 주는가?

나를 고취시키는 필름으로부터, 나는 나의 시각적 스타일이 Shane Meadows, Ken Loach and Danny Boyle와 같은 영국 감독과 비슷하다고 말하고 싶다. 그들 모두는 다양한 사회적 계급으로부터 영국 시민들의 매일의 고군분투의 사실성을 보여준다. 나는 또한 이탈리아의  신사실주의자 감독이며 가난하고 낮은 노동계급 시민들을 기본으로한간단한 사상에 초점을 맞춘Cesare Zavanttini and Giuseppe De Santis와 같은 시각적 스타일의 영향을 받았다.

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What inspires you when you’re working on narrative film?

When I’m working on narrative films I’m mainly inspired by daily life events, something that can be very simplistic and go unnoticed. I’m not really into creating a narrative film, which has the sole purpose of impressing the audience with amazing special effects or any of that kind of thing you would expect from a big Hollywood blockbuster. Some of the most memorable films I have seen and inspired me, are ones that focus on social issues and stories that most people can in some way relate to their lives or experiences of people that they know.

Who or what influences your visual style?

From the films that have inspired me the most I would say that my visual style is similar to British directors such as Shane Meadows, Ken Loach and Danny Boyle. They all show the realism of the everyday struggle of British citizens from various social statuses. I am also influenced by the visual styles of Italian Neo-realist directors, such as Cesare Zavanttini and Giuseppe De Santis, who focused on simplistic ideas based around the poor and lower working class citizens.

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Seomun Market

Seomun Market

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당신은 시작에서부터 끝까지 프로젝트를 콜라보레이션하는 것을 좋아하나? 아니면 당신이 독특한 영화감독이 끼가 있다고 생각하나?

나는 사실 혼자 일하는 것보다 다른사람과 같이 콜라보레이션 하는 것을 선호한다. 왜냐하면 나는 영화감독으로서 작문을 하는 것, 생각을 발전시키는 것에는 꽤 많은 약점을 가지고 있다.

내가 글을 쓰려고 할 때, 나는 내 첫 초안을 마무리한 후에 친구들과 심지어 잘 모르는 사람들에게 보낸다. 그리고 그들에게 피드백을 부탁한다.

보통 누군가는 내 아이디어 자체를 좋아할 것이다. 하지만 누군가는 그 생각이 발전될 수 있다고 생각할 수 있다. 우리는 보통 앉아서 단계마다 작문을 함께 한다. 이것은내두번 째 단편 영화가 만들어진 방법이다.  첫 아이디어는 내가 가지고 있었지만 누군가가  나를 위해 원고를 다시 수정해주었고 거기서 조금씩 더 작업이 진전되었다.

또한 다른 사람들과 일하는 것은 모든 절차를 더 부드럽게 진행하도록 만들 수 있다. 하지만 이것이 내 모든 짐을 덜어 놓는 다는 것은 아니다. 만일 내가 진실하다면, 나는다른 이들의 도움이 없이 어떤 필름도 만들 수 있을 것이라고 생각하지 않는다.

향후에 우리가 당신으로부터 어떤 작품을 볼 수 있을까?

내가 처음에 언급했듯이, 독도 다큐멘터리는 나머지 여름 기간 동안 집중할 주요 작품이다. 그리고 나는 2015년 초 촬영분을 편집하고 있을 것이다.

나는  한국에 있는 내내 새로운 사람들과 일할 수 있는 그리고 하고 싶은 작은 프로젝트를 진행하고 있다.

 뮤직 비디오 일을 꼭 해보고 싶다. 그것은 내가 꽤 긴 시간 동안 가져왔던 내 두 가지 열정을 혼합할 수 있는 것이 될거다. 최근에 나는 한국에서 꽤 많은 밴드를 보았고, 운좋게도 그 중에 한 밴드는 머지 않은 미래에 뮤직비디오를 작업을 할 것 같다. 

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Do you enjoy collaborating on a project from start to finish, or do you think you have an auteurist streak?

I actually prefer collaborating with others rather than working alone. This is because I can see I still have many weaknesses as a filmmaker, especially with my script writing and development of ideas. 

What I tend to do when I write is, after I finish my first draft I will send to friends and even people who I don’t really know well, but are interested in film, and ask for their feedback

Usually someone will like where my idea is going but can see that it could be improved. We usually sit down and finish the writing stage together. This is actually how my second short film was made. I had the initial idea, but someone else re-drafted it for me and we went from there.

Also, working with others can make the entire process run more smoothly, not to mention it takes a whole load off of my back. If I’m honest I don’t think I could have made any of the films I have without the help of others.

What projects can we hope to see from you in the future?

Like I mentioned earlier the Dokdo documentary is my main focus for the rest of the summer and I may even be involved in some of the post-production process early in 2015.

I have a few smaller projects I would like to do and even work with and meet some new people throughout Korea.

I also really want to work on music videos. It is something I have been interested in for a long time as it combines my two great passions. Recently I was exposed to a lot of bands in Korea so hopefully one of them would like a music video in the near future.

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Find Matt Online Here:

Vimeo

....노벰버 온 어스..November on Earth....

....노벰버 온 어스..November on Earth....

....Read: 브라이언 두트렘브레..Read: Brian Dutremble....

....Read: 브라이언 두트렘브레..Read: Brian Dutremble....

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