 POPPOLI PICTURES presents itself created by OLAF DE FLEUR RAGNAR SANTOS BENEDIKT JOHANNESSON SUNNEVA JOHANNESDOTTIR ceo BIRGIR JOHANNESSON head of production / producer KRISTIN ANDREA THORDARDOTTIR producer GUDNI PALL SAEMUNDSSON assisted by THOR THORSTEINSSON DAGUR KARI JOHANN G JOHANNSSON written by STEFAN SCHAEFER HRAFNKELL STEFANSSON cinematography BJARNI FELIX BJARNASON MIKE MCLAUGHLIN RUNE KIPPERVIK DAN HERSEY executive producers HELGI SVERRISSON JOHANN G. JOHANNSSON posters OMAR ÖRN HAUKSSON lights GUNNAR HEIDAR philippines team ARLEEN CUEVAS BEVERLY TANEDO BUTCH MADDUL thailand RUNE KIPPERVIK sound GUNNAR ARNASON JON SKUGGI HJORVAR ROGNVALDSSON music by PAVEL E SMID KARL HENRY ROLF MEYER HAMILTON CLEVERDON production design LINDA STEFANSDOTTIR ASA BJORG INGIMARSDOTTIR MYRRA LEIFSDOTTIR HJORTUR SKULASON NANNA ARNADOTTIR VICTORIA IMPERIOLI costumes BRYNHILDUR THORDARDOTTIR co-produced by RAGNAR SANTOS BENEDIKT JOHANNESSON directed by OLAF DE FLEUR JOHANNESSON publicity VIGNIR JON VIGNISSON contact email
POPPOLI PICTURES produces features targeting international audience. The company
focuses heavily on development before going to production stages,
giving ideas and scripts time to grow. The company’s aim is to
eliminate, however impossible it may sound, the outdated star-driven
fiction structure and traditional docs/fictions by bringing them together with
a new “middle-genre” of docs and fiction film, something
that we call a "Visiomentary". Where characters are real
but the story is directed. This is what some may call Italian "Neorealism",
reshaped by a naive thinking group of filmmakers from many corners.
Poppoli Pictures is based partly in Iceland, with co-producers and
bases around Europe, in New York and Asia. The company is a collection
of artists / producers around the world who participate in projects
by Poppolis founder, director Olaf de Fleur Johannesson. |
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HOW DO WE MAKE FILMS
Our prime production until late 2006 was documentaries. Although
the name and label “documentary” is something we do not
fully agree on. We make films for the audience and don’t compromise
that vision with long, boring and artistic films unless it servers
a purpose, a sort of grown up french filmmaking perhaps. Our mission
is always to benefit financially from a project, even though we never
ever ever ever have.
We believe that any doc/fiction subject can be made interesting and entertaining,
should it be cooked with the right recipe. Therefore during pre-financing
we collect critisim and value if the film is worth making it, for
if we do, it's going to occupie about 3 years of our lives.
POST
PRODUCTION
There we edit the project and drive it extensively for test-viewers
all around the world. Test-screenings are the most important factor
in our production schedule, to enable us to see what the project does
for the audience. To secure that the film is perceived, understood
and hopefully somewhat liked. Or, like a good friend told us once,
what is a film without an audience.
TECHNIQUE
To avoid financial shocks, we use the highest standard affordable
equipment. We never shoot on film or expensive cameras unless we have
secured a solid budget for it. Therefore we use HD cameras and Final
Cut Pro for post production. These two offer us the option of delivering
a project by all technical standards, or, if we have obtained a budget
for it, to transfer the flick to a 35 mm film.
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Polite People (2010)