By Sophia Burridge and Anya McCue
The first person who came up to us and we were able to interview was director of a documentary called Waiting for the Drop: Rise of the Superstar DJs, Alexei Barrionuevo. When he walked up to us, we introduced ourselves and started with the interview.
“Can you tell us a little bit about your project?” We asked him.
“Sure. It’s Waiting for the Drop: Rise of the Superstar DJs, and it’s a film that traces this explosion of Superstar DJs in the millennial era, and it goes back in time to what happened in Europe (when it was underground) and to understand how the DJs started out by trying to understand how to take people on a journey on the part DJing and how the commercialization today kind of changed that movie, so we had to filter what happened in the last few years, the explosion of the festivals, the explosion of Las Vegas when the DJs started earning $200,000 a night playing at big clubs, parties and all that. So it tries to sort of look through a journalist filter actually, to understand and dissect what happened. It goes through a few characters, some of the big DJs, Paulo, Tiesto, Hardwell, Cascade, Sebastian Roso. It tries to look at their stories and as they kind of explain what happened and for you to get a sense of the story.” He answered.
“What gave you the idea to make this project?” We asked next.
“I sort of fell in love with this story when I went to Ibiza, and I spent some time in Paulo, the old school DJ who took me on a tour of the southern part of the island and explained the whole story of how it started with the UK DJs who went over to Ibiza. I went back to New York and was obsessed with the idea of telling the story of the whole movie.” He explained.
“What are some techniques that you used while you were directing?” We asked last.
“I think the most important thing was to try and have a conversation with these people, and to look in their eye and really take the time to get them to feel comfortable so they really open up. When you are doing a documentary, I think that is one of the most important things. Sort of like when you are a journalist, when you have the time to take them on a little journey so that eventually they feel comfortable revealing something. Their guard comes down. So that was the most important thing. Also, just trying to look at details and understand all the details of what happening. The shot, the scene, following to make sure you’re on top of all those details.” He responded to our question. Before he left, we had a little conversation and found out that he used to be a journalist and it was his first time at the festival.
After he left, we waited for the main stars to show up, Margot Robbie and Allison Janney. On the way, the director/writer of Coco, Adrian Molina, showed up, but did not take any interviews. Next, the director of The Swan, Asa Hjorleifsdottir, showed up and didn’t take any interviews either.
After a little while longer of waiting, we finally heard cheers and screams and realized one of the stars had shown up. We looked out into the crowd and saw Allison Janney. As she started walking closer, taking pictures, and talking to fans, we realized that she had walked past us. People were calling out to her, trying to interview her as she talked to her caretaker. She finally walked away after a few minutes of debating.
We then waited for Margot Robbie to arrive. A few minutes passed and we heard the crowd cheering again. We saw Margot walking towards us after taking pictures on the red carpet. We quickly got some questions ready as she stood in front of us.
“As the story progressed, did the change in the character change you in any way?” Anya asked.
“Well we didn’t shoot it chronologically so I guess it didn’t progress as it does on the screen the way you watch it. But yeah definitely as the filming process goes on more I kinda feel engrained in the character in every film but especially in this one.” She answered.
“Was it difficult to portray Tonya Harding and share her her story with the world?” Sophia asked.
“She wasn’t a diffuse character to access because she is a real life person she already had so much dimension to her and with I feel like with some scripts you get you really have to fill that out because it is a fictional character, but because she was a real life person accessing her was easier than it sometimes can be. It was difficult to relate to her at times and understand her situation but once I did the prep work and stuff then it all started to make sense.” Margot answered.
Because she couldn’t stay long and had to answer other’s questions, that was all we got to ask her. We thanked her and said goodbye, and she walked over to another group. Realizing it was over, we packed up our things and left.