The book’s space interviews: Ext-Int


16 nov The book’s space interviews: Ext-Int

Book: Ext-Int
Photographs: Raimond Wouda
Book design: Robin Uleman
Editor: Fw: Books
Date of publishing: September 2015
N° of copies: 1000
Dimensions: 24×32 cm
Binding: Sewn, paperbound with soft cover with linen cover over spine
Paper: Tatami White 135 gr, Munken Lynx 90 gr


Which are the 5 indispensable pictures for this book?

Photographer: Page 5, 17, 63, 95, 109.

What is the framed structure of this book?

BD: There are a couple of different intentions related to the structure of the book. As the book is about Dutch filmsets in the landscape we wanted to have an interaction between the reality of the landscape and the fiction of the movie. In the first chapter of the book we tried to offer the viewer a journey through this various landscapes and the play between fact and fiction. In the second chapter there is a selection of photographs which show a scene from a movie. In this chapter we show the relationship between the picture of a specific movie scene, the screenplay from this scene and the actual scene from the movie. This can be seen by scanning the picture by using the app. from layar with an android or Iphone. Both the text of the script and the scene from the movie will engage in a dialogue with the photographed film set. In the index which follows the second chapter all the data of the films is given.

How did you choose your book designer?

P: He had worked with a good friend of mine, Henk Wildschut and Henk was very enthusiastic about their collaboration and the way the dialogue was conducted during the process of the making of the book. Besides that I really liked the books he already designed. He is very precise and clever designer.

What was your approach to get into the photographic project?

BD: I started with having several dialogues with Raimond to get any understanding of the project. He showed different ways which we could go to and he made a specific selection of the project which was a basis to start from. As the final concept of the book wasn’t there, we have talked and tried different approaches before having the concept we worked on for the book. It’s strange to realise that we first met in spring 2013, but before I really started with the book design it was two years later.

How did you develop the work on the book?

P / BD: We had several discussions about the direction of the book. One of the first things we did was making a complete new selection of the project As I already had a selection, we both went to the archive again and ended up with a selection which doubled the total of the pictures. It meant that there were complete new views in the way we could use the book. With this selection Robin printed all the pictures small and started the edit and I reacted on it. The two first important choices were that we combined all the pictures from a specific movie as a group so they ended up with a specific atmosphere and with this in mind we could offer the viewer a journey through the landscapes by atmosphere as well. The second choice was no image rhyme, so all the images had there own specific meaning. The most important choice was when we decided to extract the pictures from the scenes and use them again, combined them with the screenplay and the actual movie scene in a new chapter. When we decided to use this structure the fundament of the book was there. To see if things works different covers, lay outs, materials etc were fabricated as we continued.


Which narrative slant did you choose for this book and why?

BD: Besides what I already said, I wanted the sequence of the pictures to be associative and rhythmic. The pictures must be experienced as a natural flow. In that way it opens up the way to the content.

What’s the difference between the book and the photographic project slant?

P: The photographic project itself is all the work made for the project.The book is a selection from the project and a way to present the project with a specific approach and narrative. In a way you can call the publication a closed universe compared with the photographic project. The project can be different depending on the podium and the time. I have noticed that a selection of a photographic project will change when the time passes and the podium changes. It’s never the same. For the photographic project I have taken more than 1000 sheets of film but the book shows only 69 of them. We also could have made another book when we had a different approach and narrative in mind.


How did you choose the materials and the kind of printing?

BD: The form of the book had to be informative as a reference to a screenplay itself with a softcover which reminds us as the cover of a screenplay. At the same time the paper had to give a lot of expression and depth, that’s why I had chosen Tatami which has these qualities and is very tactile as a paper as well. Munken Lynx is used for the text part. It has the same colour as the Tatami but a whole different sense. I wanted to use paper with the same colour so they express the same weight in content.

How the materials’ choices are connected to the photographic project?

P: We have discussed the different sort of papers and the material for the cover. It had to fit the narrative and the concept. For example a hard cover would not have fit the idea of the relationship with the scripts in the book.

You can also find all the interview archive on 3/3 blog: