MICHAEL GLAWOGGER Biography | Comments

CHALLENGES
In Thailand, the high risk was mainly if the "boss" got nervous, because then we would be kicked out with nothing but lost time and spent money. There were also very strong restrictions imposed by the manager of the establishment. For example, we weren't allowed to set up any spotlights. However, that ended up creating a very interesting lighting situation, because the glass box was so bright and the client space was so dark. Bangladesh from the standpoint of a filmmaker is maddening. It's a place that is so alive it simply can't be controlled. You can only hope that after some time people won't care that you're there. One can hardly speak of logistical problems, because things such as logistics don't even exist there in that sense. And in Mexico, perhaps the biggest obstacle was the complete dependence of the women on their pimps. When they were told that they weren't allowed to shoot with us, even the women who were our good friends slammed the door in our faces every time.

THE MUSIC
The choice of music was very important to me because both the environment and the lives of the women have a lot to do with music. But you're always walking on the edge because music in documentary film often has a very interpretive effect. But I increasingly began to realize that this is not just a film about prostitution, but also about the man-woman relationship. Which then meant for me that there could only be love songs and duets. It didn't matter whether the music sounded interpretive. And then my editor and I totally went for it and began listening to really loud, mostly angry love songs and very affectionate, searching duets. One of the songs is a duet that is based on a poem that I wrote while watching the rushes from Bangladesh. Now the soundtrack is a mix of songs, written score and also the music that is heard and played on site, and it establishes a structure to my musical commentary and the reality.

WHORES' GLORY
The title WHORES' GLORY is meant as a gesture of respect towards the working girls of the world; not to condemn them, not to pity them, not to criminalize them, but to actually honor them for what they go through doing what they do. The word glory also has a religious suggestion and in the process of making the film that word led me to the decision that the movie should be like a triptych – a painting for an altar. I took closer looks at paintings by Hieronymus Bosch and saw that these touch subjects closely related to my film. So my triptych deals with three cultures, three religions.

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