EDITOR: A certain kind of enigma or uncertainty, unleashed by the genuine relationship between the cinematic representation and a photographic-kind of footage, seems to characterize much of your work DELTA 3. It is the effect of filming on Super 8 and the juxtaposition of black and white and colour film?
N.I.: One might get the sensation of found-footage through this type of film, I’m playing indeed with this feeling throughout my work. Here I’ve tried also a sort of archeology, the desire for discovery in an still enigmatic area, a new land anyway, which is the Danube Delta. And moreover, a touch of SF movies from the ’60 – that’s also where the title is coming from…
EDITOR: Would you talk about your work in terms of a documentary? At first it appears to be a repository of sequences, a kind of scouting location that reveals itself step by step. What did you follow in your narrative?
N.I.: For the editing, I’ve followed in reverse order, a prepared sound by Electric Brother. Going backwards in lacing the images, helped me discover my own feelings from the beginning of shooting session I’ve done there. It is, I would say, a cyclic force, like in an antic tragedy, a loop which goes around the music theme: a deserted lighthouse which projects sound. The documentary appearance of the film would give to the viewers the liberty of their own narrative throughout the sequences.
EDITOR: Can you compile a brief manual for those wishing to be “plugged to nature”?
N.I.: Oh, this is too simple-dimple. Or not actually… can’t answer to this, I’m not able to explain a behavior either by shooting.