Argentine director Luciano Onetti granted DarkVeins an interview to talk about his interesting and fascinating Deep Sleep (review here). Specifically, the film pays homage to the Italian giallo genre of the 1970s. Winner of the Tabloid Witch Awards for "Best Soundtrack." Deep Sleep was filmed in Argentina and the screenplay, by Onetti himself, is written in Italian.
L: Hi Luciano, thank you for giving us some of your time! Tell us a little bit about yourself.
L.O.: Thank you for giving me the opportunity to talk about my film. I am very happy about it. This is my first interview for the country where the giallo genre was born, beautiful Italy! Some critics have said that I am an Italian director living in Argentina or that I am an Argentine living in Italy and I shot my film there. The truth is that I am an Argentinean and Deep Sleep Was filmed here in Argentina.
I currently work for the court system, which is the opposite of my real passions: movies, music and also prestidigitation and card tricks, which I gave up some time ago.
My passion for filmmaking started in 2010, and since then, I devote most of my day to shooting and editing. I wish the days were longer to devote more to my hobbies.
L: How did you get started in filmmaking and, specifically, what drew you into the mystery genre?
L.O.: Initially, I never thought that one day I would be able to make a film. One of the reasons is that, in my opinion, making a living from your art is a bit complicated. Today they teach you that to work in big companies you have to have a college degree. Very few people choose to continue their passion by devoting all their time to what I consider a "hobby art."
Until recently, I thought it was possible to work in an office and also have time to make a film. However, time is not enough even when there is so much passion and creative energy.
I started with this creative process when I did not have a job. So I devoted myself to it body and soul, thus being able to fully enjoy everything I was creating, without pressure or discomfort. In 2010 a family situation forced me to return to my hometown, and not knowing how to deal with the pain and fear, I decided to buy a video camera.
Nicolás (my brother) is a collector of horror VHS. It was an amazing time during which we watched many films, and although I was not familiar with the giallo genre, I remember that there were many Dario Argento films in that collection. Their artistic side caught my attention.
Between 2010 and 2011, my brother invited me to see some films. And from that moment, my interest grew. I fell in love with this genre precisely because of its lack of ambition in production and its high creativity in all its contents: the beautiful Italian locations, the incredible music, the clichés of the genre, and the hands hidden in leather gloves used by criminals. Although, among the many crime films, I must say that I particularly liked the latex gloves used in The Black Belly of the Tarantula.
This genre surprised me because it is the opposite of what American cinema usually offers.
L: Sonno Profondo is your first feature film. It is an homage to Italian giallo cinema of the 1970s and reflects your cinematic influences. How would you describe your film?
L.O.: I consider Deep Sleep as an experiment within the genre, but it does not overcome the limitations that sometimes exist instead in films that only show influences from other films. If a film shows only influences from other works, it could not belong to that same genre.
Deep Sleep is a traditional detective story but it is shown from a different perspective. Many people think that some of the latest films produced are "neo-Yellows," but, in my opinion, they only show the influences from other films. And it is natural that a director would want to use elements from such a good genre. I don't think that a film showing only a killer with leather gloves belongs to the giallo genre. You have to apply all the elements of the genre in a film for it to be a full-fledged detective story.
Sometimes, the ambition of wanting to create something different puts you in a position to use that combination of elements to create something that goes beyond the limits of yellow but it all depends on one's interpretation of the genre. Many people think that by using red and blue lights then, they are convinced that it is a yellow film. Personally, I chose the environment in its entirety-I want you to breathe the air of the genre in every second.
L: The story is told from the killer's point of view. I think it's a way to understand the mindset of the two killers and to emotionally engage the viewer. Can you tell us about this interesting choice?
L.O.: It is very difficult to make a low-budget film using the POV technique. But my film allowed me to do that because it is not commercial. If you want to reach all kinds of audiences, then it is better to direct comedy or animation films. Deep Sleep and the use of POV represent the perfect reality of what is illustrated in each scene. The lack of dialogue, the loneliness and mental confusion...that emptiness one feels...these feelings and emotions are the same as what a person would feel if he or she were in the same situation as the protagonist in the final sequence of the film. In the beginning, the POV in the film justifies the state of deep sleep.
Other aspects, such as displaying only personal experiences without showing the political side, the motivation to make a different film within the genre, and finally the lack of resources, are thus justified.
L: In this film you are not only the director but also the screenwriter (together with Daiana GarcÃa), actor, composer and photographer. What was the most difficult task for you?
L.O.: Honestly, I had no other choice, and I decided to do everything myself. I had never met anyone (let alone in my town) who had been in charge of shooting, acting and editing. So I had to learn everything by myself, with patience and dedication. I spent many hours editing videos before I finally bought a video camera. Then, I also had to figure out how to use it because I did not know all its functions.
As for the music, I had no problems, since I had been recording for some time. The most difficult part was shooting some scenes because of the lack of resources. In my mind, I could imagine a scene from thousands of points of view but the reality was that I had to adapt to what I had available. I had difficulty with the use of lights, as I only had a spotlight that I held with one hand while shooting. The lack of resources forced me to adapt to this reality and leave aside many things I had imagined before shooting.
L: Was it difficult or fun for you to play the role of the serial killer?
L.O.: I really enjoyed wearing the leather gloves. Perhaps it was because I was into card prestidigitation for many years when I learned to move my hands gently and mysteriously. This facilitated the use of gloves and also simplified the machine movements typical of the POV technique.
In some scenes the killer was Daiana GarcÃa. For example, in the scene shot in the woods, she played the role of both the killer and the victim.
L: You are the composer of the score for Deep Sleep. The film won the Tabloid Witch Awards for "Best Score." Tell us about your fascinating music and musical influences.
L.O.: I am really grateful for this award because more than 400 films participated in that competition, and an award is always welcome. The idea was not to use music from other genre films, since all the creativity would be lost. Perhaps, sometimes this might be good but the feeling would not be the same and, of course, the copyright costs are high.
I think in some ways my influences are Ennio Morricone and the Goblins, although I think in all the Gialli films, the music is very similar. This can be seen in great musicians like Ennio Morricone, Bruno Nicolai, Frizzi and Alessandroni. The Goblins were more related to progressive rock but they gave another dimension to the soundtracks of the 1980s. But during the 1970s, music was made in the style of the above composers.
L: The script of the film is written in Italian. Why?
L.O.: My idea was to respect the genre that was born in Italy. I don't consider Deep Sleep a tribute to the genre but a tribute to Italy. In Japan, Argentine tango is highly regarded and there are also Japanese tango champions but they have never changed our dance by incorporating their different Japanese dance styles. This is a show of respect for something innate that can be imitated but never equaled. One must have great respect.
The same thing happened to me with the mystery genre. The script of Deep Sleep Could have been written in any language. Personally, I think art does not speak; it has no specific language. Art is pure material manifestation. And although English is the universal language today, I chose Italian.
L: Everything in Deep Sleep is reminiscent of the giallo genre: the killer's attitude, the color of the blood, the title, the cars, the music, the cinematography with that authentic 1970s style... how long did it take you to make it a perfect giallo film?
L.O.: As I said before, my intention was to recreate the atmosphere of this genre in its heyday. And sometimes it's not easy, especially in 2014. You can construct a perfect scene but it's not always enough to convey the same feeling I had when I saw these films. The films of the 1970s immersed me in a special atmosphere: the sounds, the music, the filming techniques ... the giallo seduced me completely. And I think I was able to portray all this in Deep Sleep And honestly, without meaning to, because I didn't do it meticulously. Everything happened without a reason. That's why I always say, "the simplest, the best."
I shot the film in five months but only on weekends, or whenever possible.
Sometimes, while walking, when I notice something that catches my attention I find myself saying, "This is yellow!" Well, that's what the genre conveys to me.
L: What were the most difficult scenes to shoot? And what is your favorite moment in the film?
L.O.: The idea I had set for the scene in the hospital seemed great. I must admit that it did not turn out as I had imagined. This scene was really very difficult to shoot because of hospital safety regulations. It was shot in a few minutes, avoiding the security guards. And all the material I was able to retrieve and edit was included in Deep Sleep. In turn, it was one of the highlights because of the adrenaline rush I got from shooting in this way. So this scene turned into a great anecdote.
L: Can you tell us about the production (Guante Negro Films) of your debut film?
L.O.: Guante Negro Films is a fictitious name, since such a production company does not exist. We do not have an office and we do not have an editing room with big equipment. Let's say that Guante Negro is like a brotherhood, literally speaking, between Nicolás and me.
In Deep Sleep there was no great expense; it is a very low-budget film. Inventiveness was greater than economic value in order to get the necessary elements that were needed for the film. Everything was a matter of looking and finding, and so the film was made. In Deep Sleep, my brother Nicolás played the role of adviser and was the one who brought the film to life by sending it to film festivals. Then, he started contacting people in the film industry who gave weight and seriousness to the film.
L: The film has been screened in many festivals (Sitges, Móbido Fest ...). Can you tell us about this experience?
L.O.: It was something unexpected and, as usually happens with a good surprise, it will always remain among our fondest memories. Being chosen by more than 26 international festivals has motivated us to continue in the world of filmmaking, always trying to improve, or at least to get to know it a little bit better. It's a matter of time, after all.
Sitges was a unique experience. We were not familiar with this kind of festival and their traditions. We had a great reception and I was able to present my film on my birthday, October 11. And thanks to these festivals, we were able to meet people from all over the world who expressed their appreciation for Deep Sleep.
L: Which mystery writers are your favorite? Which directors?
L.O.: Honestly, I still have many films to see. I preferred not to see many of them before shooting because sometimes many influences can lead to imitation. In any case, I have seen many common scenes in different films. It is very difficult to make a scene different from something that has been done before, since the options are very limited in this kind of genre.
Among the films I liked best, I chose, "The Bird with the Crystal Feathers," "Deep Red," "Darkness," "Bodies Present Traces of Carnal Violence (Torso)," and "The New York Ripper," thus appreciating their respective directors.
L: What is your favorite horror movie of all time?
L.O.: It is very difficult to choose from so many films that have impressed me but I can mention George Romero's "Night of the Living Dead" and Tobe Hooper's "Don't Open That Door."
L: What are your plans for the future? Is there any plans for another detective story?
L.O.: Our project is already halfway done and it's a new detective story that I wrote with my brother. It's a more elaborate film and very different from Deep Sleep. Let's say it is more classical, suspenseful thriller/yellow.
It will surely catch the attention of fans of the genre and also those who are not. Let's say that the level of experience in this film will be higher.
L: Leave a message for DarkVeins readers!
L.O.: I want to send greetings to all followers of Darkveins and express my gratitude to all readers, critics and interviewers: thanks to them, the films will be kept alive forever.
Special greetings and thanks to you, Barbara.
L: It was my pleasure Luciano, thank you for your availability!
