Demetrios Katis
Multi awarded music composer
“The composer Demetrios Katis, member of the jury committee, is known as the composer of the epic scores. Dozens of his music tracks have been released via many film music publishing & library companies throughout the world and placed on TV shows, radios, theatricals etc. Recently he has successfully completed the theatrical play tour “Bacchae” of Euripides by Leonidas Loizides. He is also an acknowledged journalist.”
Q: How did you start your music career?
A: When I was 16, Polygram released my first album. I had some tunes composed on piano and I felt that ultimate need to be fully arranged and recorded. My first band was composed by a few good friends and classmates. The 1st album was called
“Dorians, return to Earth”, symphonic Rock music. Well instead of doing pop or folk, easy listening music, I followed the hard way & made music for a certain musical taste of people. Manos Xydous from EMI invited me to his office to discuss about a new idea of mine, making Hard Rock Music with Epic proportions having as main theme Greek mythological & historical references. The only thing we had to do was to put on some great lyrics in Greek. the album released we got the platinum record with the song
“Kano Mia Efchi” (I make a wish). That was the beginning of my musical path. The creation of the Epic Metal Band
“Exoristoi” (Exiles) was done.
Q: You have been awarded quite a few times. Tell us about your international awards & honorable mentions mainly in the US.
A: I won the Award for best composer in the classical / orchestral category at the
“Hollywood Music Awards”.The Hollywood Music Awards was presented he ‘Hollywood Highlands’ I was presented with a framed Hollywood Star from 'walk of fame' by the “Los Angeles Music Awards” &
“Hollywood F.A.M.E Awards” as a Winner in the
"International Best Composer" category. Back in 2007 I’ve been nominated two times for the Los Angeles Music Awards and finally I was presented with the Award in the best classical composer category. That was one of my most happy moments in my life.
Q: All those awards what do they mean to you? Also BILLBOARD is the most famous music magazine in the world and bands like ‘Rolling Stones’ owe their success to its publications. How do you feel about your last year’s award by the BILLBOARD World Song Contest?
A: Every international award has a different significance to me. Only the emotional charge and the breathless suspense remains the same until you hear from the speakers your name as an Honoree. It is very important people like legendary Jim Halsey (President Billboard WSC) to acknowledge your talent. I was presented with the Award in the Soundtrack / Electronica category, March 2008.
Q: You have prepared a unique show called the “300 Spartans”, tell us all about this spectacular show.
A: “300 Spartans” is a Symphonic Rock Opera with many electronic elements, it is a musical tribute to the glorious ancient history and that ultimate battle for freedom. Great performers from the Greek National Opera, National Philarmonic Orchestra & Acropol Theater are included. Classical Orchestral Music with equal electronic proportions blended with the sounds of Rock and the dancing of beautiful performers & actors. It is a Music Concert, a spectacular show with interstitial dancing & acting parts. We will bring the show on stage anywhere in this world if we would be asked for.
Q: A few words about your future plans.
A: Nov. 19th I’ll be at the Hollywood Music in Media Awards since I have been nominated once again. I am working with the writer Justine Frangouli. on a new project of an audio book which is going to be recorded & released in Montreal, Canada next year. 3 video clips are being scheduled for shooting. Most important is the forthcoming tour of the
“300 Spartans” worldwide.
Sofia Shinas
“Cyprus International Film Festival should serve as an inspiration to future filmmakers, not only in just Greece and Cyprus, but also around the world.”
We first saw her hitting the big screen as Shelly Webster in the 1994 action thriller, The Crow. She carried on enchanting the audiences with her astonishing beauty and acting abilities both through film and TV. Later on “The Message” her 1992 hit single, introduced her again to us, as a talented musician. She is about to surprise us once again with her talent as a director this time, as she is making preparations to direct two feature films. In the meanwhile she is visiting Cyprus as member of the Cyprus International Film Festival Jury.
Q: You have been introduced to the audience as an actress but you have carried on through show business, interfering with music. What form of art would you say helps you express yourself better and why?
A: I’ve been fortunate enough to work in both the music and film industry as an actress and a recording artist. Recently, I’ve gone on the other side of the camera and am currently pursuing a career as a writer/director – which would technically qualify me as a multi-media artist. Expressing myself in public is important because I have opinions about life, and stories to tell --- stories that advocate change for the better. No only because I am an artist, but because it’s important to me that change be made through art, because aside from love, art is my greatest passion. And whether it’s through a song, a character, or a film that I intent to direct, the outcome is still the same.
Q: You have Greek-Cypriot roots. Nevertheless you are much more famous abroad. This is happening quite often, but what is your opinion since you have this personal experience?
A: Well, naturally, I’ve grown up in North America. And although I’m genetically linked to Greece, it makes sense that my first instinct as an artist was to pursue a career in the United States, where English is the primarily language spoken. However, I have always tried to stay in touch with my ancestry. And for this reason, the prospect of working in both Greece and Cyprus is beyond exciting. Especially as a director/actress.
Q: What is your opinion about Cyprus International Film Festival? How do you feel participating in it as a member of the Jury?
A: I first heard about the festival through an old friend, Renos Haralambidis, and the late Phedon Papamichael who had both called me over a three way phone call to pitch me the idea of participating as a jury member several years ago. Naturally, I was thrilled about the possibility of being a part of the festival, not just because I was studying to be a filmmaker at USC film school but also, because this kind of film festival allows talented new artists the golden opportunity to have their work seen on an international level. Unfortunately, I couldn’t participate because I was in the middle of filming my first short film at USC film school.
As for being a member of this years’ jury, I am extremely excited to be a part of it. Not to mention how anxious I am to see this years’ selection of films. And I know it will be a tough process making my final decision, because fro what I’ve been told, all of the films are great.
Q: Have you seen any of the films in Competition and what do you think about them, production wise and / or art wise?
A: I have seen one film in particular as of date and judging by the high production value of it, I look very forward to seeing more. Which, naturally, as a Greek American, makes me very, very proud.
Q: What “message” would you reveal to the audience of Cyprus International Film Festival and your fans?
A: That the Cyprus International Film Festival should serve as an inspiration to future filmmakers, not only in just Greece and Cyprus, but also around the world. And that I would like to extend a heartfelt thanks to Petra Terzi for allowing me the opportunity to be a part of such a wonderful festival.
Q: What are your future plans?
A: I am currently writing and developing two feature films that I intend to direct in both Athens and Los Angeles. One of which involves a Greek American child growing up in the Untied States in the late 70’s…
Tony Srour
Businessman, director, producer
“After a long-lasting career in international production as well as a three-year dynamic presence in Greece, Cypriot businessman, director and producer, Tony Srour declares himself actively present in the greek advertising production. This year is also a member of the Cyprus Film Festival jury.”
Q: Greece is a really small film market. What potentials are there so that it can be expanded?
A: Greece constitutes a small market, its potential though is enormous, because many young and talented directors work here. We are working with them very closely in order to expend the business and lead it to international standards.
Q: “Mamma Mia” and “My life in Ruins” are two recent films which have been shot in Greece. The first one was a box office hit for several weeks internationally, proving that physical scenery and well organized productions can work. What other preconditions should there be so that more productions are implemented in our country?
A: Greece is an astonishing destination for realization of shootings, because of the great localities, its natural beauties and climatic conditions. But the existing bureaucratic difficulties put obstacles in the production. Also, a lot of places are very beautiful but on the same time remoted with no existent developed infrastructure to support a production. So, a big investment in logistics is definitely needed for a shooting on an island for example. As you understand this increases the cost without compensation or support by the state and the institutions or significant tax breaks We must provide services and incentives for producers and studios to take the decision to film in Greece.
Personally, I had never a serious problem with the Greek authorities, in order to get a licence for a shooting. I trust completely my collaborators who know well the process and how to deal with an eventual problem.
Q: What is your connection to the festival and how do you see initiatives like this?
A: Last year I met the organizer Mrs Petra Terzi during the festival.I liked the festival and immediately I offered my services. This year my company is also a sponsor. This year, when Mrs Terzi, approached me about being a jury member I was intrigued with the idea. I think that this festival is a very good initiative that helps the country to be exposed to the entire world in this specific field.
Q: Could you see a film market taking place in Cyprus and in Corinth within the framework of the festivals in the future?
A: I think it s premature to foresee if another film market can develop. The biggest film market exists at the festival of Thessaloniki, which celebrates this year its 50
th anniversary impact abroad. There is also a great rivalry between small festivals in Greece. But I consider that the festival of Cyprus has an enormous potential to be developed. I find that there is a great opportunity not be missed for the island of Cyprus to be exposed to the entire world not simply as a tourist destination but also a cinephil’s destination. A good example is the cinema festival of Dubai, that began few years ago and which has acquired important position in the filmmakers agenda. This however can be achieved only through governmental support and financing. The state should embrace the festival. Let's hope that it will be taken more generously in the future.
Nikos Bistinas
Producer and ART IN VISION Production Managing Director
“Producer and ART IN VISION Production Managing Director, Nikos Bistinas has a really important experience in feature films, documentaries , television series and commercials, so one could say that he is a real expert / established in the modern audiovisual world. With this identity he is participating in Cyprus International Film Festival, as a member of the International Film Jury.”
Q: How difficult is the work of a producer in Greece? What are the perspectives in a time of recession of Greek and world economy?
A: The term producer in Greece has nothing to do with the term that is used around the world. Making a production in Greece implies the financial cover of all the needs of the project, hoping to make some profit from its copyrights. I am not saying that this does not exist, but that it is not the ONLY theory that exists.
When looking at the advanced countries in the field of cinema we find that the producer stands by his creation all along the way, from choosing the subject up to the final product. He is a kind of counselor in the whole procedure since he will take charge of the sale at the end. Of course, I have to clarify that I mean ‘producer’ when he undertakes a production from scratch and not as a ‘production take over’. He needs to have a clear mind and to deals with all the possible and impossible situations that might arise and to always have solutions so as to continue with the whole procedure. In Greece this is a bit misconceived and the producer is considered as the ‘necessary evil’ from the artistic world and as an obstacle in the expression. My opinion is that the producer should have a deep knowledge of the matter, something which does not happen/occur.
Regarding the recession that also affects the field of art, and knowing how it is dealt with abroad, I disagree with the way it is dealt with in Greece. That is, we reduce the production cost and as a result the quality of the product is lower than expected/anticipated, whilst/whereas we could attract more customers if we had a more competitive product. And when I say customers I mean, TV channels, cinemas, etc. We act defensively, rather than proactively. I would like in this case while we see that abroad there are better – and not necessarily more expensive- projects, and thus customers’ demand remains unchanged. In this way, the field of production also enters recession, waiting for the recovery and not working against it.
Q: What were the reasons that persuaded you to make a documentary about Theo Angelopoulos’ latest movie?
A: One of the main reasons for making
“FILMING DREAMS” was my desire to become the communicator of this great director’s behavior when shooting a film. The way he thinks, works, reacts, how he deals with the problems arising and finally how he manages to make each shot of his a magical picture/image. Standing by Theo Angelopoulos was an attempt to enter into his mind, to understand the way he thinks and thus share this experience with the rest of the world. My longtime desire and need of learning from an outstanding director and the perspective to be at his side, discuss, share experiences and exchange opinions made me not to have to think twice. The film’s cast was exceptional, with great names of the European and American cinema such as Willem Dafoe, Bruno Ganz, Irene Jacob, Michel Piccoli. It was filmed in locations of particular importance, extending from the depths of Russia and Kazakstan until Germany and Cinecitta studio in Italy, and his Greek partners were among the top names in their field, like Eleni Karaindrou and Andreas Sinanos. So/As follows the whole package was particular attractive. That’s also the reason I think that the documentary escaped the narrow frames of a simple «making of» and became almost a biography. At this point I would like to mention the huge contribution of the director Isidor Leontis as well as the amazing contribution - reaching the levels of sacrificing themselves! - of my partners Marios Polyzogopoulos and Maria Birbili to make this documentary a reality.
Q: So, how hard is it for a documentary to find distribution? Do you think that film festivals, like the Cyprus Film Festival can give assistance to this matter?
A: The documentary in Greece is somehow underestimated. It is not considered a competitive product compared to a film. A lot of people are interested in watching it on TV but very rarely will they go to watch it in the cinema. It is not considered an entertainment, but exclusively information. There are Greek documentaries – real work of arts – that have been recognized and distinguished abroad and in Greece but they are hardly known. There are also foreign documentaries by famous directors that again are only known to the initiated ones. Therefore the only way to make it in the broad public is through events of a cultural character, like festivals. Fortunately, there are a lot of festivals in Greece and Cyprus for documentaries which assist us, and offer us another way of expressing our creation at the same time. In Cyprus, there is CYIFF, which is being added to the calendar of internationally recognized festivals.
Q: How do you think that the cinematographic art can be promoted into an important agent for developing Greek economy and Greek culture, within and out of the borders?
A: Two-three months ago, I expressed to a forum one query: From «Boy on a Dolphin » to
“Captain Corelli’s mandolin” and from «The Guns of Navarone» to
“Mamma mia”, the Greek landscape has been used and played a major role in creating and completing all those film productions. Why can’t we make it an ‘export product’ so the Greek economy can benefit and so as the Greeks can be involved in collecting rare film experiences?
The answer brought me down to earth very abruptly. “We are very expensive relating to the services we provide, so instead of being one of the main destinations, we are considered as the ‘necessary evil’.
Later, when analyzing the reply, I proved my interlocutor right. Nevertheless, the query was still there: “What must change in the current situation?”
It is a fact that Greece is privileged with many advantages for a film production like its natural light, its landscape, its climate, as well as many good people that could participate in all specialities. This, though, is not well-known abroad, because with only one or two references a year the producers abroad are not made aware. However, the initiatives that the Greeks abroad in the field take can make a distinct difference. A very good promotion/marketing campaign is needed regarding the public relations and to follow a different approach towards the financial requirements of those involved. We should not regard the productions abroad that take place in Greece as something temporary and occasional but we should do our best to continue this movement, providing the necessary ‘value for money’ required to attract as many producers as possible.
Q: Would you consider it helpful to introduce the Greek and Cypriot film industry to countries that not only cooperate with the European Union but also with countries outside the EU, for example the USA?
A: I should state here the long-time question of the cinema in Greece and Cyprus. Opening towards the commercial or quality cinema abroad?
My opinion is not to distinguish these two kinds as black and white but to look for the grey, the intermediate. The quality cinema needs the public and the commercial needs quality to be public. I think that in both cases it should be a simultaneous opening, but with carefully choosing the data to be integrated or work as imitation example. We should stop referring to the kinds chaffingly as “heavy culture” or “another holywood film”. It is not bad to use some references from proved advanced cinema countries, together with your own material to create your personal cinema profile. In conclusion, I am in favour of an introduction of our industry abroad.
Q: What is your connection to the festival and how do you see initiatives like this?
A: We discovered this festival last year after sending in competition
“Filming Dreams”. We actually won the prize of best documentary. This year, I am very pleased and honored to be a part of the extremely well organised film festival. When the CEO Petra Terzi, approached me about being a jury member, I was intrigued with the idea. I think it’s great that festivals like this can happen and firmly believe in their encouragement. I think itis good for art whenever more exposure to films is granted because cinema is a celebration and should be shared with everyone.
Socrates Lambropoulos
Director, stage designer, painter
“Socrates Lambropoulos is one arising artist in Theatre and Fine Arts field. He is holding a B.A. and M.A. in Fine Arts.”
Q: Mr. Lambropoulos, please tell us how does your involve with fine arts and video art start?
A: This story starts many years back, from the time I remember my self. I have been always trying to bring into life the images that come in to my head. The basic problem was that these images were stories. So I tried and I continue to try to build paintings that involve a story, a myth. Through these stories I was expressing my self and lived in my own imaginary world. Later, during my studies on Fine arts, I meat video art. All of the sudden, the one-dimensional image, through the conceptual art and video art, could transform in to a moving image.
Q: What is your preferred usual issues and how do you negotiate with these as an artist?A: I’d say that my themes are anthropocentric but not on the personal level. I mean, I don’t examine the parts that could bring on the surface the personal problems of a person or my composition. I’m interested in problems that concern every man, such as the life inside the society, the little time that is left, a war or a camera that monitors all of our moves. My persistence on these issues makes me wonder how we can manage this situation and I always end up with the idea of change, the idea of the uninterrupted transformation of the behaviors of space and time, which we, after all, shape for our selves. The negotiation and administration procedure of these projects lead me to the construction of sceneries that can serve the desired goal and present it and to several different arts combined all together on a stage that can support them. So, the one-dimensional picture becomes three-dimensional, in a sort of a theatrical show. My last production “Romeo & Juliet” and others before that, such us “Modern city” and “Global ballet & concert”, try to deal with these matters of transformation and change, combined with the theatrical speech, dance and conjectural arts.
Q: How did you decide to participate in the team of the Cyprus Film Festival?
A: First of all, I ’m a big screen fun. Likewise, I participated in the First Corithian Film Festival as an organizer and I had in my responsibility the creation of the opening and closing ceremonies. The contractor of this festival was the marvelous Mrs. Terzi Petra and we were in a very close cooperation for many months, for the festival preparing. I attended with great interest the progress of the Cyprus Festival, as well, which has become already a institution and this is very obvious by watching the high quality movies that are included. I was very honoured, when Mrs. Terzi proposed me to be in the jury committee.
Q: What are your future plans?
A: My persistences have come back and right now a new project is been planned with contemporary dance, pantomime, theatre act and video art and which deals with time, it’s expansion and contraction, caused by the facts that surround modern human beings.
Eleni Petropoulou
Actress
Q: When does your involve with the theatrical acting begin?
A: Since my teenage, I started acting as an amateur actress while at the same time I was studying pieces of the theatrical writers I found inspiring. After high school, I continued my studies at the Dramatic School of the memorable Cypriot theatre-guy Diomidis Fotiadis.I also went and graduated from te dramatic school of the cultural center of municipality of Santa Barbara in Athens. At the same time, i followed stage-design classes, delivered by the top greek stage-designer Mrs. Laloula Chrisikopoulou, at the Theatrical Studies department of University of Athens. I have also followed seminars relative to theatre, conjectural arts, costume and mask manufacturing, make-up for theatre and cinema.
Q: With what other people did you cooperate, except Diomidis Fotiadis?
A: I had the honor, during my theatrical studies, to meet and work with great teachers in the theatre and cinema field like Diomidis Fotiadis, as I previously mentioned, Voula Zoumpoulaki, Alexandra Ladikou, George Skalenakis, Kaiti Imbrohori, Vivetta Tsiouni, Popi Papadaki, Dimitris Papagiannis, Giannis Voglis, Giannis Zouganelis, Andreas Thomopoulos and Periklis Moustakis.
Q: Please tell us a few words about your professional course as an actress. A: In the year 2002, I created with a few fellows, the theatrical group ‘Interaction’, which presented 4 one-act plays from Tenessy Williams, directed by Diomidis Fotiadis. The year after, I starred in the play
‘The Importance of Being Earnest’ by Oscar Wilde. In 2003, I founded the non profit artistic company ‘Global arts’, with Socrates and George Lambropoulos and John Moutsos and the same year we presented the show
‘Global ballet & concert’. In 2004, I participated as a creator and actress in the show
‘Dedicated to Olympic games’ by Global Arts. I also I played in the theatrical piece
‘America hurrah’ by Jean Claude Van Itallie, directed by Periklis Moustakis, in Athens. At the same time, I participated in the show
‘Modern city’, which was presented for 2 years. In 2007, I starred as ‘Martha’ in the theatrical piece
“The Misunderstanding” by Albert Camus, produced by Global Arts and directed by Socrates Lambropoulos. In 2007-2008, I participated in the children theatrical piece
“The little prince” by Antoine De Saint Exupery. The same year, I presented the opening and closing ceremonies of the 1
st Corinthian International Film Festival. In 2009, I starred as “Juliet” in the contemporary dance-theatrical piece
“Romeo & Juliet” by William Shakespeare.
From 2006 till today, I teach theatrical play, dramatization of myths and poems, improvisation, body position, speech training for children, acting, theatrical analysis of text, theatre history, relax techniques at the theatrical studies department of Global Arts Studios, which are based in Korinthos I have participated as an actress in many video-art which have been presented in conjectural exhibitions in Athens and I have lend my voice in stories for children.
Onisilos Pavlides
Cyprus University Cinema Association
“Does filmmaking in Cyprus exist or is it just a passion of some persons? If it exists, which are its characteristics? How important is the role of a festival for the promotion of the 7th Art and its further development as a cultural product? Onisilos Pavlidis, president of of the Cyprus University Cinematographic Association and member of the jury, answers to our questions.”
Q: Do you consider that by local standards film industry in Cyprus is prevalent?
A: Cypriot film art begun about 1962, when the first movie was screened. In all the Cypriot films there is a common pattern: a tour through the villages, local areas and scenery of the island that depict the Mediterranean beauty emphasizing in antiquity and ancient Greek heritage. There is great significance given in the tragic era of ’74 overshadowing everything with underlying political meanings. The film production is very limited; there is a new movie every 3 or 4 years. The socioeconomic circumstances are very bad for a young director, actor or anybody who strives to make a living from making movies. It is a lost cause for lovers of 7
th Art who struggle against a very prejudiced and conservative environment.
Q: How do you explain the fact that while Cyprus republic is a rich nation there is poor film production?
A: The basic problem is that there are no distributors, so the whole distribution is controlled by multinational corporations. There are sub-distributors who borrow the films subtitled from Greece, they screen them and sent them back. This is where lies the great artistic contribution of film clubs and festivals, like the 4
th film festival of Cyprus, which brings international and independent production to the local screens. Unfortunately, at international level there is a fundamental argument about whether films are cultural or commercial product, so the future of the grants may be uncertain.
Q: Do you think that the Cypriot film making is in a mature stage considering artistic style or cultural identity?
A: I think that we can no longer speak about national film identities. We live in times of extreme, brutal commodification and artistic formalism. Ιt might not even be wise to speak about personal style and originality. Everything tends to be part of a post-modern pastiche, echoing Hollywood norms. Considering the local film making I believe that there is not a general pattern, a final conclusion. It is mostly, I think, the personal outcome of each individual artist that remains. Besides that, Cypriot films could very easily belong to the general Greek film production since there is extended overlap and furthermore a normalizing tendency to submit the Cypriot culture to the central Greek.
Q: Do you think that Cypriots are interested in the 7th Art?
A: I wouldn’t be very optimistic about that. I guess they are not… Cinema –at least of the average viewer- is thought to be 2-2.5 hours of pure entertainment after a good meal. This is not particularly wrong but if all ends just to that, it degenerates to something a lot different than Art. That is the point that film clubs and festivals must interfere in order to project something unusual and “educate” the viewer so as to be more demanding and sensitive.
