indieWIRE INTERVIEW | Dreaming Kawabatas: “House of Sleeping Beauties” Director Vadim Glowna by indieWIRE (November 13, 2008)
A scene from Vadim Glowna's "House of the Sleeping Beauties." Image courtesy of First Run Features.
Based on Yasunari Kawabata‘s novel, Vadim Glowna‘s “House of Sleeping Beauties” follows Edmond, a man in his sixties whose wife has recently passed away, and who is told about a secret establishment where men can spend an entire night in bed alongside beautiful, sleeping young women who never awaken. The German film is being released stateside by First Run Features, and opens at the Quad Cinema in New York this Friday, November 14. indieWIRE talked to Glowna about the film and its U.S. release. What initially attracted you to filmmaking, and how has that interest evolved during your career? My first feature film was “Desperado City” about my youth in Hamburg-St.Pauli where I grew up. It was a hommage to these people in my beginning about that redlight-district, the prostitutes and pimps, the harbour and the Beatles, the gangsters and the kids who learned their first important lessons on the street. The film won 1981 the “Camera d’Or” at the Cannes Film Festival and many others. My second film “Nothing Left To Lose” was shot 1983 in El Paso, Texas. About two Jewish families who escaped Nazi-Germany and got stuck somewhere in the desert and never made it to California. As an actor, I appeared in more than 160 films. In the US the most popular and known film might be “Steiner - The Cross of Iron” by Sam Peckinpah. He was a great master to me and I learned a lot working with him. Maybe in some ways I’m obsessed like him to do films and live. As an actor you are challenged with every part you get offered. One of the most difficult roles I did was Johann Sebastian Bach in “My Name is Bach” or “Jagged Harmonies”. I’m not a musician so I had to learn instruments the hard way. A coach teached me for more than half a year to learn piano, spinett, organ and flute. Day by day because I was so ambitious to make possible that the camera could pan from my fingers to my face and back to give a convincing impression that I handle the instrument really by myself.
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