A TALK WITH ALBERT MOYA
Albert Moya is the filmmaker behind Everything begins with an interruption, the short film we presented during Cersaie 2015 to celebrate the 10th anniversary of the company. We met him on set and asked him about this new experience with ceramics, new projects and his dreams.
Everything begins with an interruption is not just a quote, but the title of the short film you directed to celebrate the 10 Years Anniversary of Mutina. How do you feel about it?
I liked the idea to use such an important statement for the brand to work on the concept of the film; even if in the result it’s not that clear, it worked to build the narrative and start having ideas to make the film.
Let’s start from the beginning. You asked to visit the company and meet the people behind it before thinking about a subject for the film. In which way they influenced your point of view?
The first visit to meet the Mutina family in person was crucial to think about the way the film should have been portrayed. It’s where I became conscious that people – the team is as important as the product they make – and the relationship there is between all of them, their philosophy of work, that is something you can not perceive if you are not there. There is a lot of humor going on and most important they deal with all the hard work in a real effortless way. Work feels always very aspirational there.
Was it your first time with ceramics? How much did you know about this material and how much you have carried with you, now that you know Mutina?
It was quite special as my mum is a ceramist. Even if she makes another type of product, at the end it’s still ceramics. So I grow up near clays and huge ovens and all the discipline that the ceramics’ world requires. I was really excited to work with Mutina for that reasons, it made sense to collaborate with something related to ceramics at some point. I’ve been lucky I was asked to work with such a singular and special company like Mutina.
To me it’s not that much about the material, it’s more about the bridge they built between ceramics and art. Now that I know Mutina this is what I keep with me: if you have a dream, if you really want to do something, something that is passionate and true, you can do it.
It sounds like a cliché, but when you see the result, you can just say “Bravo!”.
As it’s mentioned in the film, being at Mutina is like being part of a real family. Which was your impression about it?
Well, literally like that. While we were shooting, all the team at Mutina was helping and working closely with us, as if we were just one crew. They welcomed us like if we knew each other forever and everything felt very natural and organic and funny and intimate. When the base of a (work) relationship is like that things can just go well.
Why did you choose black & white for the film?
The HQ’s building has a lot of personality and we knew that was going to influence the whole aesthetic of the film – that elegant yet industrial feeling of early 70’s. The only way I was imagining that coexisting with the rest of the elements of the film was in black and white.
And why the story of the package?
It was just an excuse to drive us around the HQ and warehouse in a more dynamic way that didn’t feel a documentary nor a didactic film.
About your personal work, what are your plans for the future? Are you thinking about some interesting project to come?
Yes! I’ve been working on a personal project for 4 years already and it seems it is going happen soon. It’s an art film I’m working on in collaboration with the Mies Van der Rohe foundation, to be shoot at the Barcelona pavilion the next winter.
When did you decide you were going to be a filmmaker?
I was in my 20s and it was the conclusion I arrived after working in different art disciplines. It was the way to put all of them together.
Do you have a dream?
Yes, many! To point one out, I would love to write a script with greek writer Efthymis Filippou, whose work fascinates me.