Who Is Who in Mycology

Since I was a kid, I was always fascinated by movies that used film tricks and illusions in order to build a great spectacle for the audience. This film magic was executed the old fashioned way – on set, in camera. There was a great artistry to it. To me it felt real and true. And most of all, it did physically exist, although only for the duration of the filming. I wanted to create short film piece that would draw from this legacy, especially in the times, when one feels overwhelmed by all the audiovisual content. Content that seems to have no lasting value and seems so quickly perishable.

For over a year I was collecting 35mm short ends in Europe and the US, because we couldn’t afford to buy new film stock. Although my stock was two years expired, for me shooting on film was essential. Most of the short ends we purchased for a very low price came from Ridley Scott’s production of Child 44 that was shot in Prague some years before. Other short ends were given to me in the US. That meant whoever from my family and friends traveled to NY had to carry an extra suitcase, pick up cans with old film and bring them back to Prague, where the movie was shot.

Securing funding for a short film is extremely hard. We kept applying for grants and finally accrued enough to start filming. But without huge favors from people who offered their skills for free or for a symbolic fee we would have never been able to make it. I think pretty much everyone I know has helped in one way or another.

This film shoot was one of the best experiences of my life, and I made many new friendships along the way. The solidarity and willingness to help without expecting anything was surprising.

Marie Dvořáková