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Laugh Clown Laugh

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[Go Project Films] [♪ music ♪] [♪ music ♪] [♪ music ♪] [♪ music ♪] [♪ music ♪] [♪ music ♪] [♪ music ♪] When I was a child I was fascinated by the spontaneity and the freedom of the clown. [♪ music ♪] [♪ music ♪] For me, the clown, it was a whole human being in the sense of humility, of freedom, of dignity, and the playfulness, yes. [♪ music ♪] [♪ music ♪] [Laugh Clown Laugh] [♪ music ♪] [♪ music ♪] [♪ music ♪] When I was a boy I loved to play the drum. And when I was 18 I did this drum show, and then there was this moment between me and the audience. People started to laugh at me, and it was not my music. It was something in me what they kind of found funny. [♪ music ♪] And this was really the moment when I felt, "Oh, this is nice to make people laugh." [♪ music ♪] It was a certain time in my life— it was very difficult for me. And the clown was something really which contained this freedom to overcome the seriousness of my surroundings. I started to be fascinated with the poetic side of the clown. This figure of the Pierrot, who is in love with the moon, and he's always melancholic a bit. It related much to a certain side of me which was sad— which was kind of full of longing. It's a very important side for the clown because it's something like my own poetic space that is not dependent on others. [♪ music ♪] [items dragging on the ground] [footsteps] [♪ music ♪] [♪ music ♪] [♪ music ♪] [♪ music ♪] [♪ music ♪] [♪ music ♪] [♪ music ♪] [♪ music ♪] [♪ music ♪] [♪ music ♪] [♪ music ♪] [♪ music ♪] [♪ music ♪] [♪ music ♪] [♪ music ♪] [♪ music ♪] [♪ music ♪] [♪ music ♪] [♪ music ♪] [♪ music ♪] [♪ music ♪] [♪ music ♪] [♪ music ♪] [♪ music ♪] The biggest challenge for me is to hold the confidence, not to be disturbed by what a clown ought to be. You need a certain costume, but it's not enough. You have to have a certain state of being, a certain state of innocence. [♪ music ♪] The clown is the master of failure. He loves the fiasco; he's going into one fiasco to the other. And when you want to do something funny, it's most of the time it's not funny. But when you wait, something happens. [♪ music ♪] And when I'm a good clown everybody can take something from it. [♪ music ♪] Everything is important, but nothing is really very serious. When these two come together, not to take everything important and nothing serious— this is really—wow— that's really something. [♪ music ♪] [♪ music ♪] [♪ music ♪] [Featuring: Filou the Clown] [Reinhard Horstkotte] [♪ music ♪] [Directed and Produced by: Emmanuel Vaughan-Lee] [♪ music ♪] [Cinematography and Editing by: Elias Koch] [♪ music ♪] [Music by: H. Scott Salinas, Emmanuel Vaughan-Lee] [♪ music ♪] [Piano: Daniel Szabo] [♪ music ♪] [Cello: Artyom Manukyan] [♪ music ♪] [Supervising Sound Editor/ Re-Recording Mixer: D. Chris Smith] [♪ music ♪] [Sound Editor: D. Celene Lew] [♪ music ♪] [Color by: Leo Hallal] [♪ music ♪] [Special Thanks to: Reinhard & Family] [♪ music ♪] [www.goprojectfilms.com] [©Go Project Films] [♪ music ♪]

Video Details

Duration: 7 minutes and 43 seconds
Country: United States
Language: English
License: All rights reserved
Genre: None
Views: 216
Posted by: global on Mar 4, 2013

For Berlin based clown Reinhard Horstkotte there is more to clowning than laughter.

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