Vladislav Viand, a filmmaker known for his avant-garde style blending stop-motion animation and collage art, explores themes of deception and interpretation through his film "The Hit Or Miss Man." Influenced by surrealists like Jan Švankmajer and cultural shifts of the 60s, Viand's work challenges norms. "The Hit Or Miss Man" evolved over three years, with Viand's collage art background shaping its storytelling through flashbacks. He sees cinema as a reflection, not a shaper, of societal norms, and advises aspiring filmmakers to seize opportunities and explore unconventional themes. Despite challenges, Viand finds fulfillment in the creative process.
The Hit Or Miss Man" was selected as a finalist in the Best Dark Comedy category at the BR. Banshee Festival 2024

 

 

1. What inspired you to delve into the realm of stop-motion animation and collage art in your filmmaking?

 

It is difficult to single out any one source of inspiration – they span Jan Švankmajer, the 60s culture at large, Russian poet and songwriter Yegor Letov (in particular, his album covers), old magazines, and the 1 + 1 =3 formula in general, which works not only when combining frames, but also at the junction of static forms.

 

2. Could you discuss your creative process in bringing "The Hit Or Miss Man" to life, particularly in terms of storytelling and filmmaking techniques?

 

Initially, I planned to make a 5-minute film in which everything would end with the first chapter (after all, the main plot twist happens there already). And then the film began to gradually expand, and the plot began to acquire new meanings. We were finishing and rewriting the script when half of the episodes had already been filmed. As a result, the project was more than three years in the making.

 

3. As a filmmaker known for avant-garde short films and clips, how do you approach pushing creative boundaries while still engaging audiences?

 

Unfortunately, I don’t have a formula for attracting audiences. In our days it’s increasingly hard to surprise people or hold their attention for long, so I’m content with a small group of interested people.

 

4. What themes or messages were you aiming to convey through the character of Ivan in "The Hit Or Miss Man"?

 

Ivan articulates the main idea himself: “If you don’t want to ruin your relations with someone, let him lie.” One can also recall the Nietzschean maxim “There are no facts, only interpretations.” Ivan is not pursuing any benefits, he only feeds on people’s attention and compassion. Lying is his categorical imperative. Ivan is a grotesque representation of the dark side of human nature.

 

5. How do you believe your background in collage art influences your filmmaking style and storytelling approach?

 

These probably affected the structure of the film — it is literally woven from flashbacks.

 

6. Can you share any insights into your artistic inspirations and influences that shape your work?

 

I tried to make a movie in which it would be difficult to see someone’s influence, but nevertheless the influence of various directors of the second half of the 20th century is probably clearly noticeable in its elements. In general, I approached directing more intuitively, trying not to parasitize on someone’s legacy.

 

7. As a filmmaker who explores unconventional narratives, how do you see the role of cinema in challenging societal norms and perceptions?

 

I don’t think art can shape social norms. Rather, on the contrary, it is an aesthetically driven reflection of them.

 

8. What challenges did you encounter while blending elements of surrealism and storytelling in "The Hit Or Miss Man"?

 

While working on the plot, the most difficult task for us was to come up with the ending. It was essential for me not to kill off the main character. As a result, we rewrote the closing part 4 times, settling on an absolute phantasmagoria: Ivan kills his physical shell, but his desire to spin stories turns out to be stronger than death itself.

 

9. What advice would you give to aspiring filmmakers who are interested in experimenting with different forms of storytelling?

 

Don’t waste a second of your life on any nonsense. Write and shoot right now!

 

10. Can you discuss any future projects or themes you're passionate about exploring in your filmmaking career?

 

The themes that intrigue me are mostly anthropocentric – the nature of violence, complex human relationships, controversial situations. Also I want to work in the horror genre, or maybe adapt some science fiction: there are tons of fascinating literature out there that is being ignored by major directors! I have a huge number of ideas that are almost impossible to implement at the moment.

 

11. How do you approach the collaborative process with actors and other artists, such as collage artists, to achieve your creative vision in your films?

 

I do all the collage animation on my own. Meanwhile, our cameraman, for example, acted as the gaffer, focus puller, technical consultant, and even played two bit parts in this film. We didn’t have a producer or production designer. Shooting an independent movie without a budget is actually a monstrous torture, and one should be prepared for this. Our lead actor also faced many moral and physical trials on these shoots. But the main thing is that the entire film crew got a unique experience.