I’ve always found it fascinating to work with a variety of music types, genres and styles and as a result, I spent a lot of time capturing live concerts and opera performances, making music videos and dance films. The dramatic marriage of image and sound is and will remain magical and will never cease to provide superb material for filmmaking. Whenever the combination is good, the film will become tangible: you can almost smell and touch it.

I also try to reveal this magic whenever I explore the inner self of the protagonist, probing the fields of tension between his life and who he is and what could be called the origin and genesis of his art, the composition process. At some point the protagonist will always say or do something which makes time briefly come to a standstill. It can be a pose or a weary glance that makes the façade fall off.

The idea of a documentary about Dirk Brossé is challenging, as I shall have to work with a variety of documentary styles and all sorts of music and sounds, and yet establish a recognizable “form”. Much like Dirk himself, who on the outside lives in a world of concerts, theatre and cinema, whereas, deep inside, he is a seeker, the film’s structure will contain several layers, both in the writing and the cinematography.

Brossé is often underway, and, consequently, so will the camera be. These travel sequences will alternate with more contemplative sequences revealing the secluded man composing or reflecting while the world gradually fades away in the distance.

Abovementioned contrast will be complemented by a third approach: roughly filmed do-it-yourself iPhone images rendering his thoughts, ideas, impressions and experiences.

A similar mix can be found in my previous film “La Soledad de America Latina”, a composer’s portrait of the  younger Brossé,  inspired by texts by Gabriel Garcia Marquez, which at the same time was also a nature documentary, a concert fragment, a newsreel, a photo montage as well as a social document.