“Dracula is not Dead”,discussing fashion and film with director Luizo Vega.


Luizo Vega was born on December 24, 1974 in Michigan, USA. He is an actor and director, known for The Material Boy (2015), Sangra Tango (2014) and La croix (2008).In March of 2015, he  presented “The Material Boy”  film in the official competition in the Guadalajara International Film Festival.As well as in the International Film Festivals of Torino, Tel Aviv, Tokyo, Buenos Aires, Sao Pablo, Quito & Mexico DF.In December 2015 “The Material Boy” was featured  in MK2 Paris and became a big success during the ASVOFF Festival, presented by Diane Pernet in Centre Pompidou, Paris.During 2016, Luizo Vega is working in the production of the feature films “Dracula is not Dead” and “Sister Samanta” and in the documentary “The Naked Project”.In this very moment of his creative life,Luizo Vega opens up in a ‘about all’ interview with Ilia-Sybil.

 -What mostly influenced you to get involved with cinema?
I studied cinema in Argentina, but after two years I decided to learn by myself, with the experimentation, and became an autodidact. I started shooting my first film in 1999, and this project went on for 14 years, giving birth to “The Material Boy”, that was first presented in David Lynch’s club Silencio, and last December in MK2 Paris cinemas and in Diane Pernet’s ASVOFF festival in  Centre Pompidou.
During the long process of creation that led to “The Material Boy”, I worked in all the different possible aspects of art, as an actor, performer, acrobat, photographer, producer… but I finally chose to focus on cinema direction.

-Tell us a few more about your latest film,“Dracula is not Dead”.
In “Dracula is not Dead”, Dracula is a Parisian fashion guru in a post apocalyptic future. The film depicts the Count’s intemperate last days, as he searches the blood of a virgin, the only cure for his fatal sickness. The movie is also the tale of a finishing love story: Lilith, Dracula’s wife, has met someone else and supports him less and less; so Dracula may have to face his death on his own. The aesthetic will mix graphic and gory scenes with photography inspired by couture commercials, as well as more wacky and sarcastic moments.

-Fashion plays a crucial role in your venture. How are this fashion core references and the dark tale of Dracula connected?
Dracula always seemed to me the most fashionist character ever, because of his magnificence; throughout his many incarnations, he represents in the same time the everlasting sophistication of style, and a sort of creative avant-garde. But the myth of Dracula also involves numerous of glamorous feminine creatures, all of them distinctive by their striking flair and panache. In the same time, for me fashion industry is a symbol of vampirism, the exploitation, the animal abuse and the manipulation of the people by the big brands. In the movie, Dracula will present an original collection, and genuine capes from Romania and others used by medieval Satanist sects.

-Are there any contemporary (or older) creatives that influenced you?
I cannot imagine my life without Da Vinci, Lynch and Mapplethorpe, among st many more. About the contemporary scene I love Ylva Falk and I respect a lot the work of Scarlett Rouge. Being vegan for 20 years, I feel close to the Stella McCartney’s approach of fashion. I think I’m a bit of a  feminist…

-Give us some more info about your kickstarter campaign.
With this campaign we are looking for a part of the funding to make the film bigger and to pay the artists. I believe in collaborations, but I believe artists deserves to be paid for their work. And since “Dracula is not Dead” involves an important team of artists, we need funds to reward them. The other reason why we are launching this crowdfunding campaign is that we want to have the complete control of the art direction of the movie at this moment of the process.
The contributors will receive tickets for the premieres and parties, and the possibility to be shot by me, in studio and with my stylist team.


all pics by luizo vega
dracula by mathieu klein


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