First Impressions
An Interview with Celina Murga early in the mentorship during filming of Martin Scorsese’s next feature film Shutter Island.
What interested you most about participating in the Rolex Arts Initiative?
Martin Scorsese was one of my masters when I was a student. So the possibility of becoming his protégée was like a dream come true. On the other hand, what I found really interesting in the programme is the possibility of meeting people from other disciplines, too. I think it’s nice because you can focus on your own work and your own discipline during a year, but at the same time you have the possibility of connecting and being in touch with the other protégés. It’s like opening new doors.
Have you ever had a mentor before?
Not in this formal way, but I consider the director of the film school where I studied, Manuel Antin, a mentor. Of course it’s not the same way of working as here, but he was very clever and open-minded in the way he runs the school…I also think that certain film directors were my mentors in a way, like Godard. Of course I learn from many films, but I remember the day that I saw Godard’s first film Breathless, and it changed my mind completely.
What was your first impression of your mentor?
My first impression was the interview I had with Martin in February. He had this big amount of energy. And of course I was very nervous because I was going to meet this famous director. I was sitting outside his office, and the first thing I saw was his foot coming [laughs] because he has a glass door. He came out and said ‘Hi’ to me and he made a joke. So then I was so relaxed, and within a minute I felt as if I was talking with a normal person. He’s very generous with his knowledge, and I really enjoyed that hour that I had with him. He knows so many directors and he has these amazing stories to tell. And on the set too; most of the time I sit next to him.
How do you think your work is similar to or different from your mentor’s?
I found some similarities in our way of working, in this very obsessive way — obsessive in a good way — and in how he’s very concentrated during the take. He’s observing every detail of the image. That’s something I enjoy a lot, and I really care about everything in the image. [Celina then points out that Scorsese’s films are on a much bigger scale than her own films.] But the very personal and passionate way he works, I feel akin to that. And the way he cares about actors, I care about actors too. I think they are very important in my work, and I enjoy very much working with actors.
Do you think that your mentor’s guidance will change your approach to your work?
I hope so, in a way. If I have the opportunity of working and being near another person in a close relationship like this one, it has to give me something. I don’t want to change too much because I like my work, but maybe instead of ‘change’, the right word is ‘adding’: I’m excited about doing this because it’s the possibility of having new experiences and having this addition from someone who is so different in a way, culturally.
- Read interview with Jason Akira Somma, protégé in dance
- Read interview with Tara June Winch, protégée in literature
- Read interview with Aurelio Martínez, protégé in music
- Read interview with Masanori Handa, protégé in visual arts
- Read interview with Nahuel Perez Biscayart, protégé in theatre