A prolific director of intimate, vitrolic, globally minded narrative shorts, Topaz Adizes got a taste of star studded Hollywood productions, having worked on Ridley Scott’s Kingdom of Heaven and Paul Thomas Anderson’s There Will Be Blood, before embarking on a terrific run of directorial efforts, including City (2006) and Letting Go (2008). Currently at work on his first feature, a globe trotting multi-strand piece titled Americana, he’s at Sundance this year with a short initially envisioned as a passage in that longer film, Trece anos, which can be seen above. We discuss the usual after the jump.
What films and TV shows have you watched recently?

Waltz with Bashir, The Wrestler, Slumdog Millionaire, Battle of Algiers, Gomorrah. I don’t have a TV.

Which ones, if any, had any lasting significance for you? Why?

Tough one because I think it goes back somewhere into my subconscious and I am not always aware of how they impact me. I definitely remember not being able to speak after seeing a film… i.e. Waltz with Bashir, The Diving Bell and the Butterfly, Cinema Paradiso (Director’s Cut).

How do your viewing habits effect your work as a film director?

When I see a film that inspires me, it sends me back into it with more passion and energy. I don’t like watching films that reference characters of mine, I prefer watching life. Doing my research there. I’ve learned that’s the best method for me.  If I’m going to watch a film for research, it would be a documentary. So for me, fiction films are more for inspiration and to stoke competitive fire in me, if you will. See how other directors have structured a story and told it.

What have you been reading lately?

The History of Love by Nicole Krauss. Amazing.

What would be your ideal literary adaptation? Why?

Right now, at my present stage, Captain Blood by Rafael Sabatini.

What are some of the books you’ve always wanted to read that you haven’t gotten around to?

The Heart is a Lonely Hunter by Carson McCullers. Anything by Marcel Proust.

What’s been coming out of your stereo recently?

The National, Francis and The Lights, Cat Power, Lykke Li, Buena Vista Social Club

Is music an essential part of your process for conceiving and writing films?

It has been on one short. Otherwise, not really.

What would be your ideal pairing of director and musician for a concert film? Why?

Stanley Kubrick and any musician he wanted. It goes without saying, but he was pure genius. As for the musician, I’d go with either Nina Simone or my little brother (who is a blossoming jazzman himself…)