LIDF

In his latest film Peter King depicted the Latvian port of Karosta through the eyes of its inhabitants. He tells Kamila Kuc why he chose to make a film about this particular town.

Kamila Kuc: Why the town of Karosta?

Peter King: I had been looking through archives of derelict Cold War settlements and structures in an attempt to find the glimpse of a story that would put into perspective what was happening in the world of modern politics in relation to Russia and the US and I came across Karosta. From the moment I started reading I was hooked, it had everything and so much more. It had the history, the tragedy and more importantly the resilience of human spirit. I knew that I had found the subject of my next project and began writing immediately. As it all started to come together I got in contact with producer Rowland Kimber and together we began working out how we could make it happen.

KK: Karosta: Life After the USSR is about the consequences the collapse of the Soviet Union had on people and places. Were you surprised by some of the stories you heard from the people of Karosta?

PK: The initial reason for looking at Cold War remnants was due to Putin and Russia’s change of stance in relation to the West, and the idea that there was a possibility of a Cold War II. I wanted to show people the effects of an arms race on real people, the stories that you don’t see. These are people who had full faith in their superiors, felt that everything would turn out okay and in the end got completely forgotten about. People always say that we will learn from our mistakes but it seems not, as Russia has just stated its intent to rearm. What I found surprising is how some people still held the Soviet Union warmly in their hearts, when it left them isolated both physically and culturally. It just shows how long-lasting an effect ideology and propaganda can have on a person and how it can survive thorough so much stress.

KK: Before shooting Karosta, did you think of your characters or the story first?

PK: The story came first. The narrative arc of the film was to be based on the timeline of the town, seen as though there was a natural three act structure, pre-Soviet collapse, the times of anarchy and the hopeful present/future. With what I had already learned I was sure that there was a good story, and then it came down to finding the right characters to tell it.

KK: Karosta seems like a grim place, but there is something truly captivating about its sea landscape. What were your feelings about the place?

PK: The whole place is mesmerising. The broken fortifications in the water are purely surreal, the conflict between calm and chaos. It feels like there was a battle there between man and nature, and the only remains are the destroyed bunkers half collapsed into the sea. The whole town has a strange juxtaposition between the man-made and the natural. The base served as a holding point for destruction in the form of atomic weapons but sits in a beautiful forest next to a stunning beach. You can walk through a patch of woodland and suddenly come across a weapons store or entrance to an underground bunker. It is unlike anywhere that I have ever been, and I am looking forward to returning there one day.

KK: Despite the wide-spread opinion that only criminals live there, Karosta has a great community. Were people happy about you filming there or were they rather skeptical?

PK: One thing that was particularly notable was how willing people were to be filmed. The majority of people in Karosta wanted to speak to us – albeit many of them to tell us all about their problems – rather than the people of Liepaja centre who were much too ‘busy’ to speak to us. We felt much more welcomed in Karosta.

The sense of community is definitely present. Our fixer, a local from Karosta, instantly knew if a person was from Karosta or not just by looking at them, and when we approached the person to speak to them he was always right. Him being there allowed the people of Karosta to see that we were with a local, therefore we were with them, rather than being outsiders.

KK: Karosta features K@2, an art formation, run by the Swedish artist Carl. The initiative revitalised the town and brought a new perspective to the lives of young people. Can you tell us more about this venture?

PK: Carl is doing a great thing, he and his counterpart Kristine have a great vision for what Karosta can become, all this while making sure that it is in the best interests of the local people. K@2 rent a number of the abandoned buildings in Karosta. They have converted these old abandoned shells into places of study, exhibition and entertainment, and after having the pleasure of staying in one of these buildings for the duration of the trip I can safely say that they have done a fantastic job, making buildings comfortable and warm whilst losing none of the original charm and character.

As Carl says in the film, there is a strong bond between the ‘international’ and the ‘local’. Whilst we were there we witnessed students from all over Europe taking part in a week of workshops and exhibitions, all staying the duration in one of the buildings, the K@2 hostel, and being inspired by the surroundings. Vladimir, the young local man in the film speaks for many when he talks of the good things that they have done for him, and through this and the way that he speaks about them it is possible to see what they stand for. I think the opportunities that K@2 give to the people, especially the young people, are extraordinary and I hope they get the chance to continue these in the same manner.

KK: The cinematography in Karosta is astonishing. Is this the first time you’ve worked with David Procter?

PK: David and I have a long running working relationship and he is my DoP of choice on everything that I do, whether it is factual or fictional. It is vital that the images reflect the tone and content of the story, and are a very important part of conveying the feeling that the audience will leave with. David and I have a great understanding and he knows exactly what I want, and I know that he will do everything within his power to make this happen.

KK: Richard Canavan’s score is also very impressive…

PK: Richard’s music is fantastic. Much like with David, I will work with Richard whenever possible as I know how much he can achieve. I think music is a fantastic tool for capturing a mood and I think a film is much better for it, so to have no music would be difficult, however I do believe that music should be used with care and having moments with no music can really increase the tension and make the moments with music all the more powerful, it is about a fine balance. When Richard first sent me the final track of the film I was so blown away I played it continuously – I actually have it as my mobile ring tone I like it that much.

KK: You are a co-founder of the Agenda Collective. Can you tell us more about it?

PK: David Procter and I set up Agenda Collective back in 2006 with a producer called Andrea Farrena, as a platform for each of us to expand our horizons. The three of us had soon realised that the film industry was a lonely place to be on your own, and with our combined body of work and contacts we could move forward and make the projects that we really wanted to. We don’t subscribe to working within one particular genre but we will always ensure that each project has a strong narrative drive. Andrea moved on in 2008 but we still work with her regularly, and we are always expanding our collective network.

KK: Have you shown the film to the people of Karosta yet?

PK: I am speaking to Carl about a screening however he is having problems with the local council so we will have to wait and see about that.

To read a review of Karosta: Life After the USSR, click here.