{"id":17397,"date":"2023-06-18T01:04:10","date_gmt":"2023-06-18T05:04:10","guid":{"rendered":"https:\/\/cinemadailyus.com\/?p=17397"},"modified":"2023-06-18T01:19:52","modified_gmt":"2023-06-18T05:19:52","slug":"tribeca-festival-kims-video-exclusive-interview-with-co-director-david-redmon","status":"publish","type":"post","link":"https:\/\/cinemadailyus.com\/?p=17397","title":{"rendered":"Tribeca Festival : Kim’s Video \/ Exclusive Interview with Co-Director David Redmon\u00a0"},"content":{"rendered":"
\n

Synopsis<\/strong> : With the ghosts of cinema past leading his way, cinephile and filmmaker David Redmon sets off on a seemingly quixotic quest to find a legendary lost video collection of 55,000 movies in Sicily.<\/p>\n<\/div>\n

Genre:<\/b> Documentary<\/span><\/p>\n

Original Language:<\/b> English<\/span><\/p>\n

Director: David Redmon, Ashely Sabin<\/b><\/p>\n

Writer:<\/b>\u00a0David Redmon, Ashely Sabin<\/p>\n

Runtime:<\/b>

\"\"<\/p>\n

Exclusive Interview with Co-Director David Redmon\u00a0<\/strong><\/p>\n

 <\/p>\n

Q: What was your experience with Kim’s Video, and how did that experience lead to making this film in the first place?\u00a0<\/strong><\/p>\n

DR: It was my foundation and it held me together. It was with myself and my girlfriend at the time, Ashley Sabin — we’re married now — so every chance we got, we\u2019d go to Kim’s Video from Brooklyn. We would bike across the Brooklyn Bridge, rent movies, take them home, watch, wake up, edit, bring it back, and do more. What’s important about it for us was the physicality. It’s a physical place to meet people, encounter movies that we had never heard of, come across movies by accident \u2014 along with other people. And that’s very important for those kinds of encounters to occur.<\/p>\n

Q: How did that lead to making this film?\u00a0<\/strong><\/p>\n

DR: When we found out the collection was leaving, we were in Russia, in Siberia, making another movie. I told Ashley,”I can’t believe it. Kim’s Video is going to be gone. It’s leaving. We have to go back to America, to New York and do this.”\u00a0 But we couldn’t — we had to finish our other project. Then years went by, and as the movie indicates, I started having these voices and obsessions \u2014 dreams about Kim\u2019s Video, so many dreams. Finally, my wife, Ashley, said \u201cJust go. Go find out what\u2019s happening with Kim\u2019s.\u201d You see in the movie, I go. But I didn\u2019t go with a smartphone, I went with a dumb phone \u2014 a little phone on which you can call or text and that\u2019s it. No map, no direction, just went to Sicily, went to Salemi. I had to find the collection. I went to so many different places that aren\u2019t in the movie. Finally, one man helped me and you see that man in the movie.<\/p>\n

Q: \u00a0I was surprised that directors Like Todd Phillips, Alex Ross Perry and Robert Greene used to work there at Kim\u2019s video. I also see Eric Hynes who is a director at the Museum of Moving Image now.\u00a0How did you gather those guys who used to work there, get in touch with them and interview like that?<\/strong><\/p>\n

DR: it was very difficult to gather them together and assemble so many people because most people said, \u201cno\u201d or didn\u2019t respond. You have to go through agents, like for Chloe Sevigny. It was so difficult \u2014 exchanging emails for over a year in trying to get an interview. Trying to get an interview with Martin Scorsese is impossible \u2014 we couldn\u2019t get past the gatekeepers. We sent several emails to Todd Phillips, no response. We met people around the world who were members of Kim\u2019s Video, and they had fabulous stories. For example, a man in Sweden was a member, and his dad would fly him in as a boy to New York and they would rent movies.<\/p>\n

He would bring them back, copy them on VHS and distribute them in Sweden and then bring them back into New York City. He now owns Nonstop Media in Sweden, one of the biggest distribution companies. You mentioned these other people\u2019s names like Robert Greene and Alex Ross Perry. You can see how Kim\u2019s Videos\u2019 influence goes beyond borders. It becomes, in Robert Greene\u2019s words, \u201can incubator\u201d to help inspire and imagine what\u2019s possible through all these collections of movies, and with the conversations that occurred at Kim\u2019s Video. It was like a magnet that attracted them \u2014 even David Bowie was a member as well. There\u2019s so many people \u2014 Iggy Pop, right? We chased down Iggy Pop and tried to get him to do an interview, just to speak about the influence that these movies have on anyone\u2019s artistic vision.<\/p>\n

Q: Youngman Kim, owner of Kim\u2019s Video, used to send his staff members to some festivals around the world to select films for their library and collection. They went to such an extent to search out a really good movie or to find their types of films. Were you surprised?\u00a0<\/strong><\/p>\n

DR: I was indeed surprised. I wish Mr. Kim was here to speak about that because he\u2019s the one who arranged it. He explained to me that he would have six people on staff that would go to diverse film festivals \u2014 everywhere from Canada to Korea. Mostly his favorites were in Eastern Europe, he said. They would bring back these movies. Not only would they copy them from the embassy, and bootleg them \u2014 as you saw in the movie \u2014 and then the police would come and take them. He would do it again one week later. It was his vision, his obsession, and his organizational skills. Only Mr. Kim, I think, can speak to the motivation of why he did that.<\/p>\n

Q: That\u2019s really a smart way to acquire a connoisseur\u2019s taste in collections.<\/strong><\/p>\n

DR: He would refer to the movie collection as his children. He opened various Kim\u2019s Video [stores] on the date of his child\u2019s birthday. eEvery Kim\u2019s was opened based on the child\u2019s birthday. So he\u2019d refer to his movies \u2014 and I regret I didn’t put this in the movie \u2014 they\u2019re like his \u201cbabies.\u201d\u00a0 He doesn\u2019t have a favorite, they\u2019re all his babies.<\/p>\n

Q: What\u2019s surprising about the collection is that they had Stanley Kubrick\u2019s earliest work, such as \u201cDay of the Fight\u201d and \u201cFear and Desire.\u201d They really had a rare collection of movies. What were the films that you found or bought at Kim\u2019s Video that were surprising that they were there in the first place?\u00a0<\/strong><\/p>\n

DR: Well, Stanley Kubrick is one of Mr. Kim\u2019s favorite filmmakers, so this is one reason why he had various shorts and different movies by him and about him. But gosh, that\u2019s a good question. I can\u2019t give one name. I mean, there\u2019s Hungarian cinema \u2014 for sure, \u201cViridiana\u201d \u2014 but Criterion: Bunuel\u2026 they released that on Criterion. We watched it on VHS from Kim\u2019s. I hate to sound so myopic, but I really liked \u201cDogma 95\u201d \u2014 he had a lot of vogue movies out there. I liked Harmony Korine, the immaturity, but the unknown vision that he was creating at the time.<\/p>\n

\"\"<\/p>\n

Q: In June 2005, the FBI raided Mondo Kim\u2019s store alleging they were selling bootlegs. They closed the store for a certain length of time, but they were able to open the stores afterwards. How were they able to manage that with the police after them? They were able to stay open for a couple of years before they finally closed permanently.<\/strong><\/p>\n

DR: That\u2019s a good question. It\u2019s unfortunate that I\u2019m such a box, I want to respond in a legal manner. So once the search warrant is over, the police have to get another one. It takes months to do that. They can\u2019t just walk in and shut it down again. They have to go through the whole process again \u2014 and again and again. But Mr. Kim had a VHS player, a VCR, upstairs, multiple. He would just copy, copy, put them back on the shelf again. But he said he was determined to make these movies available to the public.\u00a0 That was his motivation to break the law, to avoid the law or ignore it. He wanted to get them on the shelves and make people have access to them. This is why his condition in Sicily was to \u201cMake the movies accessible\u201d.<\/p>\n

Q: Out of all the institutions which offered to acquire his collection, including the NYU library, why did Mr. Kim choose Sicily? Talk about his motivation so that it finally ended up in Salemi?\u00a0<\/strong><\/p>\n

DR: Well, I can only tell you what he told me, and it\u2019s all on tape. He said that New York City had multiple video stores available, so in a way, New York was spoiled. They had access to more movies. There are cinemas everywhere. He said his main motivation to deliver the collection to Salemi was that they didn\u2019t have a single video store within, I think, a hundred-mile radius. He wanted to believe in the vision of Vittorio Scotti, that he was going to renovate this entire town and transform it into an artists\u2019 colony and put Kim\u2019s Video at the center of it. I think Mr. Kim attached himself to that vision, and wanted to see Kim\u2019s Video help \u201cstart a renaissance\u201d, in his words. That\u2019s Mr. Kim\u2019s \u2014 he has big dreams, big visions. This didn\u2019t seem silly to him at all. It seemed like a challenge.<\/p>\n

Q: Youngman Kim is very charismatic, but when he operated Kim\u2019s Video, he was like a shadowy presence while there. How do you describe his character after working with him, particularly when he was in Korea\u2014 when he was in the U.S., it required different diplomatic processes. \u00a0<\/strong><\/p>\n

DR: In Korea, he was extremely friendly, but people were also very deferential. He would just walk in and people would know who he was and why he was there. They would take him to wherever he wanted to go. I don\u2019t really understand the cultural signposts of Korea. I don\u2019t want to say too much, I can\u2019t. I wish he was here. He\u2019ll be here tomorrow if you want to meet him.<\/p>\n

Q: This film is [about] not just this one particular store, but also about the bygone era of people going to the video store to rent and buy TV shows and movies. What are the things that you miss about the video stores that don\u2019t exist anymore?<\/strong><\/p>\n

DR: Well, though streaming today portends to offer a wide variety of movies to watch in your own home, it\u2019s also isolating. It\u2019s like hyper-individualization. You just sit, consume, and if you don\u2019t like it you turn it off, you get disrupted. You do the same thing with a VHS player, but mostly, we didn\u2019t do that. I miss the physicality of the analog, the human experience, the effort to go and search for a movie \u2014 the physical exertion of going to a location far away, finding the movie you wanted, and then discovering 50 others that you never heard of. And then [there was] talking to the employees about what they\u2019d recommend, what they found interesting. And then there was meeting people there who then become your friends; it\u2019s a hub. It connects; it creates a diaspora of Kim\u2019s Video around the world. I think that\u2019s what\u2019s so central about it. Streaming just doesn\u2019t do that. There\u2019s no effort. You just search online, you sit, and there it is.<\/p>\n

Q: This film was also selected for the Sundance Film Festival as well. Did you have the premiere of this film? How was the reception there?<\/strong><\/p>\n

DR: It premiered at Sundance on opening night. We\u2019ve played at Copenhagen and several other festivals.<\/p>\n

Q: Talk about the personal experience so far. This was a very particular video store in New York, but at the same time, there were tons of video stores all over the world that might relate to this collection of movies.\u00a0<\/strong><\/p>\n

DR: It\u2019s funny, because I don\u2019t refer to it as a \u201cdocumentary.\u201d I like to call it a movie about movies, but it\u2019s also a mystery movie. It\u2019s a heist movie, it\u2019s a comedy. It takes a bygone era seriously. The reception at Sundance was stunning. People were laughing in a good way, not at people but with each other, and understanding the nuances of the movie. I was just blown away. I couldn\u2019t believe it \u2014 finally, this happened, after six years [in the making].<\/p>\n

I would like to think it\u2019s a movie unlike the many other documentaries we\u2019ve seen. Many have political motivations, ideological motivations, and this one is supposed to be light-hearted and fun. It takes you to unexpected places that could be dangerous, but may not be dangerous; it could be an obsession \u2014 is it real or a figment of my imagination and fear? Am I living inside a movie, this movie that I am making? This becomes my own movie, and I have to get out of the making of the movie, so it\u2019s like a trap. That\u2019s how I see it.<\/p>\n

Q: When you visited Salemi, Sicily, you encountered problems with political issues and mob connections such as Vittorio Sgarbi and Giuseppe<\/b>\u00a0Giammarinaro. How was the experience shooting in Salemi. What were the challenges that you faced over there?\u00a0<\/strong><\/p>\n

DR: The challenges? We have to be very careful. We had help. There was a man named Fabrizio, he was very helpful. Someone told me, \u201cYou have to understand the way we communicate.\u201d\u00a0 That\u2019s what he told me. I asked him, \u201cCan you help me, get me access to Gemarinaro\u201d And he went, \u201cWhat I say, I don\u2019t mean. Look at my body and you tell me.\u201d So I thought, okay, that\u2019s a very touchy subject is what he\u2019s telling me. So just be patient, but that\u2019s not what the movie\u2019s about. Stay focused on Kim\u2019s and trying to get the collection back in New York City.<\/p>\n

Q: This film is such an immersive experience and at the same time you get nostalgic about this film. What do you want the audience to take away from this movie?<\/strong><\/p>\n

DR: I hope they go on this journey, to understand the unexpected twists and turns of the movie, and then ask themselves, \u201cIs this real? Did it really happen?\u201d That\u2019s what people have asked me so many times: is this real? There are some journalists who indicated that I actually set up the break-in. I called Enrico ahead of time. \u201cOkay, I\u2019m going to break in, and then you come. \u201c That\u2019s what I like \u2014 it\u2019s difficult to understand if the movie is a \u201cmockumentary\u201d \u2014 and I\u2019m okay with that. I don\u2019t take that as an insult \u2014 if [they see] it\u2019s as a documentary, or if it\u2019s a movie. It invents its own genre like a very important B movie at Kim\u2019s Video. That\u2019s what it is. It\u2019s shot like one, it\u2019s shaky, like an old camera that we used 10 years ago. It looks like a movie that you would find on the shelf at Kim\u2019s Video and you\u2019d say, \u201cWhat is this?\u201d Then you watch it and say, \u201cWow, I never heard of this movie. I\u2019m glad I watched it. It changed me.\u201d<\/p>\n

\"\"<\/p>\n

Check out more of Nobuhiro’s articles<\/a>.<\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

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He became a film reporter for via Yahoo Japan News. In that role, he writes news articles, picks out headliners for Yahoo News, as well as interviewing Hollywood film directors, actors, and producers working in the domestic circuit in the USA. He also does production interviews for Japanese distributors of American films and for in-theater on-sale programs. He is now the editor-in-chief of Cinemadailyus.com while continuing his work for Japan.","sameAs":["https:\/\/www.cinemadailyus.com"],"url":"https:\/\/cinemadailyus.com\/?author=2"}]}},"_links":{"self":[{"href":"https:\/\/cinemadailyus.com\/index.php?rest_route=\/wp\/v2\/posts\/17397"}],"collection":[{"href":"https:\/\/cinemadailyus.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/cinemadailyus.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/cinemadailyus.com\/index.php?rest_route=\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/cinemadailyus.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=17397"}],"version-history":[{"count":0,"href":"https:\/\/cinemadailyus.com\/index.php?rest_route=\/wp\/v2\/posts\/17397\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/cinemadailyus.com\/index.php?rest_route=\/wp\/v2\/media\/17398"}],"wp:attachment":[{"href":"https:\/\/cinemadailyus.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=17397"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/cinemadailyus.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=17397"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/cinemadailyus.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=17397"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}