Your filmmaking is heavily focused on images, on visual style. Did it feel like a natural move to create an iconography for an object, in this case the MV Agusta motorbike?
When working with luxury, there’s a sense of having to utilize the iconography of the object itself. Though, for me, it wasn’t so much the bike I was interested in, it was what the motorbike made me feel. Even though the iconography of the motorbike in general is very beautiful, like a piece of art, it’s how to encapsulate that feeling throughout the entire film.
Although many well-known directors have made commercials, only a few have been generally accepted as art works in their own right (Roy Andersson’s films come to mind, for example). Do you think there’s a dividing line between “pure” and “applied” arts, in filmmaking and in other genres? How do you see BEAUTY IS NOT A SIN in the context of your other works?
I believe art is a reaction of authenticity and purpose. I made BEAUTY IS NOT A SIN because I had a desire to create it. Therefore, it is an authentic NWR creation and an extension of where all my work is moving towards. The universe works in mysterious ways…
