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Last week, nobody seemed very interested in this interview, except for SonneN. She asked me to translate it for Rammstein USA.
Snake gave me a hand. Now I share it here, I think it has many interesting parts.
Eugenio Recuenco’s interview for Rammstein Mexico
Eugenio Recuenco, great Spanish photographer who has worked with RAMMSTEIN in “Amerika” and “LIFAD” photo-shootings, as well as being a part of the creation of “Mein Herz Brennt” video has given a short interview to Rammstein Mexico.
__________________________________________________ _________________
- Eugenio, how do you define your style as a photographer?
It’s very difficult to define yourself when every day you try to evolve and make different things.
Evidently, from the outside is much easier to make a summary; but from the inside, I see many differences between the photos I take, or at least that’s what I try; don’t always do the same exact thing.
- Is it difficult to follow a style which defines and distinguishes you, without risking repeating yourself or even “self-plagiarizing”?
As I was telling you before, I see many differences among my pictures. I think that at the end, when you make things with your heart and with honesty, even though you evolve, you reflect yourself in your photos. I think that at the end, projecting yourself on them is what makes them personal and they evolve with you, at the same time you evolve in your life.
- Is there somebody who inspires you in your work? Who would you like to work with?
Plenty of people inspire me, but they are “anonymous”. I mean we live in a world with such an image avalanche that you can be inspired everywhere: internet, books, expositions, newspapers, etc.
In regards to who I would like to work with, I always respond the same: with someone I could learn from.
- Let’s talk about RAMMSTEIN, do you like their music? What do you think about their work?
More than their music, I like their live performance together with their music. I think they have found their place and they do it very well.
- This was the third time you worked with RAMMSTEIN, including “LIFAD” and “Amerika” photo-shootings, is it easy to work with them?
At the time of shooting, it uses to be quite easy; they do what you ask from them and in that regard they know their image is important and they work towards it.
- Talking about the video how was the invitation to film “Mein Herz Brennt”?
Some time ago, I filmed a video for a Spanish group called “Utero”. I knew it was a band close to RAMMSTEIN’s aesthetics and I proposed them to make it for them. I posted it on the web and three days later they invited me to film the video, curiously I found out later that one of the members of “Utero” was one of the people who helped RAMMSTEIN to play at our country, when they weren’t so notorious; it was about 15 years ago.
- The Beelitz-Heilstätten, a dark place, was it your choice? What do you think about it?
Yes, it was my choice; I knew the place for some time and I think it was a perfect setting for my story. When you spend six days there preparing everything and filming, it becomes something familiar. I visited more sanatoriums around Berlin and one I can’t remember its name, gave me worse feelings.
- The story you wanted to tell us, ended up in some ways… different, let’s put it this way. Is it so different from the video we all saw?
The video I filmed was planned as a movie trailer; where RAMMSTEIN members are the main characters of a story you could identify, but obviously wasn’t told literally, so the spectator could interpret it in its own way.
I think it was easy to create the need to see the video several times, and find out small nuances and details. Possibly the problem was the fact that they weren’t playing nor singing, except in a moment at the beginning with Till, although it was made clear since the shooting that is something they are not used to. For musicians their image is important, but at the end, they prefer to impose their ego instead of the product.
- In short, what was your video about? Which was the story behind it?
Well, it was an orphanage created by Till, father of Melanie Gaydos, a “special“ girl, in fact, he does it so his little girl will have company. The orphanage manager, Richard, is somebody who resists to close everything after Till’s daughter dies. Moreover, we can find out the weird practices taking place in the orphanage, “Flake” guards the children so they can’t run away from that prison-school, etc. In fact, it will be easier to show you the workbook we prepared for the film and which everyone, my team, RAMMSTEIN and me agreed and so we understand everything better.
*He sends me the workbook. It’s truly amazing.
Eiit: He has shared it on FB. Here's the link: http://www.facebook.com/media/set/?s...8126703&type=1
- In the end, why wasn’t your edition chosen? Was it a band or record company decision?
I don’t know the reasons. I showed them a cut, and I spent 5 months asking what they thought about it without any reply. In May they answered they didn’t like my edition and I proposed them to make it with them.
From there the communication got cut off. And in September, without getting any type of news beforehand, they sent me a new video edited by Zoran [Bihac],who I respect a lot and inviting me to appear as Co-director. I wouldn’t have minded, but it was so far away from everything I have worked with my team and RAMMSTEIN, and they didn’t give me a choice to change anything; so I gave them permission to use it, without accrediting me as director, only mentioning the cession of my video footage. The problem is that my footage was retouched in order to lose its cinema feeling and seem more as a homemade video.
- How did you feel?
The truth is I don’t feel bad for what they did with the video, I think they know better than me which aesthetics suits them better and they sell more with. I thought it was important not to repeat a bloody approach so we could make something interesting and evolved. I don’t have anything against that. I felt very bad, however, when they denied me permission to show any footage not from the “Zoran-Eugenio” edition. I think it is a lack of respect, but not to my work; I have assumed it already, but to all the people who worked with them with passion but as professionals can’t show anything. I’m not even interested in showing it with their song, I can present silent footage and it’s enough, but not even that. They know their reasons, but they have never told them to me, and therefore I can’t understand them.
- Will there ever be a chance for watching the video as you planned it? Maybe not like a video, but like a photographic session. It would be a pity to never be able to see it.
I would like that too. The problem is I signed a contract with them in June of 2012 transferring the rights of the images without imagining they had already filmed more footage with another director. That is to say, they prepared the path so they could do what they have done.
I acted out of goodwill and I would do it again because I still believe in the word of the human being and in his basic values. I’ve remained silent during a year, without saying absolutely nothing and without giving information in spite of not having signed anything until June. My father raised me like that since a child. Now I can only ask you that everyone asks for watching it and at the end they comply. It’s unbelievable; you can’t see a good product with their music and in YouTube you can see thousands of them edited with nonsense and their music and nothing happens. It turns me off to continue with this.
- Maybe after some time goes by, would you work again with RAMMSTEIN?
I don’t think they would feel like working with me, because my work has seemed bad to them; and the way I work, chaotic.
I don’t understand why they criticize the Spanish production, when in fact the producer was German and imposed by them. I think there are many cultural differences between German and Spaniards. Well, I think there are many differences between Spaniards and the rest of Europe. As for me, I don’t have any problem with them, I only request to be able to show what I did for them, I feel proud of it. I believe that if somebody with my experience feels proud about something, it can’t be that offensive to them. The only thing is, at first, rather than excitement one needs lawyers to read their contracts.
- Which projects do you have in the future? You should exhibit your work in Mexico…I say! Only giving you the idea this way….
Hope so! I would love it and I can say Mexico and Colombia are possibly the two countries which support my work the most; much more than Spain. I would love to present my work in Mexico. One of my future projects is filming a full-length film; I’m still considering if filming in USA, Mexico or Spain. Feature film where I had planned RAMMSTEIN to appear, but now I’m searching for new groups.
- Any message for the people following your work in our country?
I only want to thank them for all the support shown every now and then, through emails and messages.
And also thank you for this space.
Interview by Aiackos of RAMMSTEIN Mexico
Translation by Maya and Snake.
Original source (Spanish): http://www.rammstein.com.mx/foro/vie...php?f=3&t=2105
Source: http://www.rammstein.us/archives/2864
Snake gave me a hand. Now I share it here, I think it has many interesting parts.
Eugenio Recuenco’s interview for Rammstein Mexico
Eugenio Recuenco, great Spanish photographer who has worked with RAMMSTEIN in “Amerika” and “LIFAD” photo-shootings, as well as being a part of the creation of “Mein Herz Brennt” video has given a short interview to Rammstein Mexico.
__________________________________________________ _________________
- Eugenio, how do you define your style as a photographer?
It’s very difficult to define yourself when every day you try to evolve and make different things.
Evidently, from the outside is much easier to make a summary; but from the inside, I see many differences between the photos I take, or at least that’s what I try; don’t always do the same exact thing.
- Is it difficult to follow a style which defines and distinguishes you, without risking repeating yourself or even “self-plagiarizing”?
As I was telling you before, I see many differences among my pictures. I think that at the end, when you make things with your heart and with honesty, even though you evolve, you reflect yourself in your photos. I think that at the end, projecting yourself on them is what makes them personal and they evolve with you, at the same time you evolve in your life.
- Is there somebody who inspires you in your work? Who would you like to work with?
Plenty of people inspire me, but they are “anonymous”. I mean we live in a world with such an image avalanche that you can be inspired everywhere: internet, books, expositions, newspapers, etc.
In regards to who I would like to work with, I always respond the same: with someone I could learn from.
- Let’s talk about RAMMSTEIN, do you like their music? What do you think about their work?
More than their music, I like their live performance together with their music. I think they have found their place and they do it very well.
- This was the third time you worked with RAMMSTEIN, including “LIFAD” and “Amerika” photo-shootings, is it easy to work with them?
At the time of shooting, it uses to be quite easy; they do what you ask from them and in that regard they know their image is important and they work towards it.
- Talking about the video how was the invitation to film “Mein Herz Brennt”?
Some time ago, I filmed a video for a Spanish group called “Utero”. I knew it was a band close to RAMMSTEIN’s aesthetics and I proposed them to make it for them. I posted it on the web and three days later they invited me to film the video, curiously I found out later that one of the members of “Utero” was one of the people who helped RAMMSTEIN to play at our country, when they weren’t so notorious; it was about 15 years ago.
- The Beelitz-Heilstätten, a dark place, was it your choice? What do you think about it?
Yes, it was my choice; I knew the place for some time and I think it was a perfect setting for my story. When you spend six days there preparing everything and filming, it becomes something familiar. I visited more sanatoriums around Berlin and one I can’t remember its name, gave me worse feelings.
- The story you wanted to tell us, ended up in some ways… different, let’s put it this way. Is it so different from the video we all saw?
The video I filmed was planned as a movie trailer; where RAMMSTEIN members are the main characters of a story you could identify, but obviously wasn’t told literally, so the spectator could interpret it in its own way.
I think it was easy to create the need to see the video several times, and find out small nuances and details. Possibly the problem was the fact that they weren’t playing nor singing, except in a moment at the beginning with Till, although it was made clear since the shooting that is something they are not used to. For musicians their image is important, but at the end, they prefer to impose their ego instead of the product.
- In short, what was your video about? Which was the story behind it?
Well, it was an orphanage created by Till, father of Melanie Gaydos, a “special“ girl, in fact, he does it so his little girl will have company. The orphanage manager, Richard, is somebody who resists to close everything after Till’s daughter dies. Moreover, we can find out the weird practices taking place in the orphanage, “Flake” guards the children so they can’t run away from that prison-school, etc. In fact, it will be easier to show you the workbook we prepared for the film and which everyone, my team, RAMMSTEIN and me agreed and so we understand everything better.
*He sends me the workbook. It’s truly amazing.
Eiit: He has shared it on FB. Here's the link: http://www.facebook.com/media/set/?s...8126703&type=1
- In the end, why wasn’t your edition chosen? Was it a band or record company decision?
I don’t know the reasons. I showed them a cut, and I spent 5 months asking what they thought about it without any reply. In May they answered they didn’t like my edition and I proposed them to make it with them.
From there the communication got cut off. And in September, without getting any type of news beforehand, they sent me a new video edited by Zoran [Bihac],who I respect a lot and inviting me to appear as Co-director. I wouldn’t have minded, but it was so far away from everything I have worked with my team and RAMMSTEIN, and they didn’t give me a choice to change anything; so I gave them permission to use it, without accrediting me as director, only mentioning the cession of my video footage. The problem is that my footage was retouched in order to lose its cinema feeling and seem more as a homemade video.
- How did you feel?
The truth is I don’t feel bad for what they did with the video, I think they know better than me which aesthetics suits them better and they sell more with. I thought it was important not to repeat a bloody approach so we could make something interesting and evolved. I don’t have anything against that. I felt very bad, however, when they denied me permission to show any footage not from the “Zoran-Eugenio” edition. I think it is a lack of respect, but not to my work; I have assumed it already, but to all the people who worked with them with passion but as professionals can’t show anything. I’m not even interested in showing it with their song, I can present silent footage and it’s enough, but not even that. They know their reasons, but they have never told them to me, and therefore I can’t understand them.
- Will there ever be a chance for watching the video as you planned it? Maybe not like a video, but like a photographic session. It would be a pity to never be able to see it.
I would like that too. The problem is I signed a contract with them in June of 2012 transferring the rights of the images without imagining they had already filmed more footage with another director. That is to say, they prepared the path so they could do what they have done.
I acted out of goodwill and I would do it again because I still believe in the word of the human being and in his basic values. I’ve remained silent during a year, without saying absolutely nothing and without giving information in spite of not having signed anything until June. My father raised me like that since a child. Now I can only ask you that everyone asks for watching it and at the end they comply. It’s unbelievable; you can’t see a good product with their music and in YouTube you can see thousands of them edited with nonsense and their music and nothing happens. It turns me off to continue with this.
- Maybe after some time goes by, would you work again with RAMMSTEIN?
I don’t think they would feel like working with me, because my work has seemed bad to them; and the way I work, chaotic.
I don’t understand why they criticize the Spanish production, when in fact the producer was German and imposed by them. I think there are many cultural differences between German and Spaniards. Well, I think there are many differences between Spaniards and the rest of Europe. As for me, I don’t have any problem with them, I only request to be able to show what I did for them, I feel proud of it. I believe that if somebody with my experience feels proud about something, it can’t be that offensive to them. The only thing is, at first, rather than excitement one needs lawyers to read their contracts.
- Which projects do you have in the future? You should exhibit your work in Mexico…I say! Only giving you the idea this way….
Hope so! I would love it and I can say Mexico and Colombia are possibly the two countries which support my work the most; much more than Spain. I would love to present my work in Mexico. One of my future projects is filming a full-length film; I’m still considering if filming in USA, Mexico or Spain. Feature film where I had planned RAMMSTEIN to appear, but now I’m searching for new groups.
- Any message for the people following your work in our country?
I only want to thank them for all the support shown every now and then, through emails and messages.
And also thank you for this space.
Interview by Aiackos of RAMMSTEIN Mexico
Translation by Maya and Snake.
Original source (Spanish): http://www.rammstein.com.mx/foro/vie...php?f=3&t=2105
Source: http://www.rammstein.us/archives/2864
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