2001
103’ (25 fps) / 1.85:1

THE BUBBLE

Η ΦΟΥΣΚΑ / I FOUSKA

DIRECTED BY:
Nikos Perakis
SCRIPT:
Katerina Bei, Nikos Perakis
Η ΦΟΥΣΚΑ poster

Just got back from the ODEON-OPERA cinema where I saw "LINCOLN" and have sat down to write a note on "THE BUBBLE". Great movie, "LINCOLN". After this what can I say about "THE BUBBLE"? That instead of shooting something uplifting like Kapodistrias’s pleading at the 4th National Assembly in the ancient theatre of Argos in 1829, and his assassination in beautiful Nauplia, I plunged again into the mire of stereotypes of social rot and conspiracy theories? That this time there was no budget for film and for the first time I shot with a DVCam? That in Greece in 2001 there was no RED, nor any ALEXA camera, but that even if there had been we couldn't have afforded it? That it was the first time I had started shooting without a guaranteed distribution? Maybe because it was the first film about the bubbles of domestic terrorism and the economy, "strategic investors" began to withdraw after browsing the script, and in the end there were only "entrapped small investors". Perhaps because the crash on the Sofokles Street stock exchange (the Greek Wall Street) was still very recent and the blister of terrorism wouldn't burst until a year later. Maybe because they were afraid that I wanted to shoot the epilogue with Spartacus and Fidel Castro in Cuba, where I’d been the previous year to meet members of ΙCAIC.

Finally the film was shot after huge concessions by crew and actors, as well as the assistance of many friends, but it seems its fate was preordained. The film opened early in January 2002 without TV ads, in cinemas that had to close their doors for three, some for four, days because of the unprecedented frost. The commercial result was similar. When FILMNET showed "THE BUBBLE", several industry experts approached me with the assurance that the film could be screened successfully in cinemas. When the DVD was released a year later, this was also considered prophetic...

PLOT

Makis, a barker at a barbecue taverna who is financially trapped with his savings invested in the stock market, meets and falls madly for Roula, former Miss Mass Tourism and current mistress of Manolas, the opulent chairman of OLYMPOURGIKI earthworks, in which the hapless evzone has invested.

Makis witnesses a nearly fatal attempt on the tycoon's life, and while the police are implicating and chasing him as a member of RO17N (Revolutionary Organization 17 November), Mr Fotis, member and cold-blooded executor, attempts to recruit him for the organization’s purposes. The only consolation for the trapped and hunted Makis is the love of Roula who follows him in his murderous adventures to the “ultimate shelter” where they escape with the hopeless author of the EO17N proclamations, Spartacus.

CAST+CREW

CAST

Makis
Alexis Georgoulis
Roula
Maria Solomou
Manolas
Yiannis Bostantzoglou
Spartakos
Ilias Logothetis
Mr Fotis
Yiorgos Vasiliou
Roula’s mother
Eleni Tzortzi
taxi driver
Renos Halalambidis
Wanda
Natalia Papaioannou
Mrs Sofia
Christina Theodoropoulou
Sotirhos
Dimitris Kamberidis
uncle
Michalis Yiannatos
shepherd
Stavros Mavridis
Tselingas
Yiannis Gouvelis
evzone
Drosos Skotis
Tsakonas
Leonidas Marmaridis
waiter
Alkis Panayotidis
grill man
Antonis Samaras
salad maker
Neda Grylonaki
secretary’s staff
Alexandra Alexandraki, Manolis Heretakis, Akis Despotopoulos, Sokratis Spanos
chief doctor
Zinos Panayiotidis
nurses
Sofia Barba, Natali Pavlof, Marilena Koutsoukou
personal nurse
Poli Beleni
bartender
Natalia Iordanou
receptionist
Elene Iordanou
Dorotheos
Vasilis Kesisoglou
monk
Kostas Papadakis
Mrs Manola
Maria Louisa Stefanaki
lawyer Peris
Christos Simardanis
the Ripped Bodyguard
Dimitris Liolios
the Tall Bodyguard
Christos Liakopoulos
Anchorman
Christos Homenidis
Anchorwoman
Katerina Bei
trapped shareholders
Kostas Tsakonas, Dimitris Katsimanis
Hit man with braid
Yiorgos Doudesis
Hit Man without
Theofilos Papastylianos
Jane
Kristeanne Travers
Alexandros
Yiorgos Gonidelis
Cuban taxi driver
Ahmet Camal
Hanns, STASI veteran
Nikos Perakis
Manolas’s father-in-law
Marinos Athenasopoulos
Makis’s neighbours
Maria Andoulinaki, Katerina Tzamara
pizza parlour employee
Yiannis Zaharopoulos
Soula’s aunt
Eleni Vlahou
aunt’s lover
Yiorgos Panousopoulos
security employee
Tolis Papathanasiou
TV panelists
Antonia Kountouri, Akis Despotopoulos, Marios Koutsourelis, Zacharias Demathas
singer
Fiona Tzavara
director
Giovanni Tzanetis
photographer
Yiorgos Tsemberopoulos
choreographer
Irina Musurova
dancers
Iakovina Gatsiou, Ismini Delazari, Klairy Dilova
immigrant
Nikos Skoulidas
archive employee
Tina Boviatsi
secretary in Cuban bar
Vasilis Katsoufis
black beauties
Pilar Michailidou, Μarcia Richards, Alexandra Papadopoulou
hairdressers
Stella Stambola, Aphroditi Stambola
trapped shareholders in train
Yiannis Hatziyiannis, Yiorgos Mavropsaridis
peddler kid
Kostis Perakis
passengers
Trantafylli Bouterakou, Magda Lada
policemen
Haris Raftogiannis, Dimitris Skarlatos
girl in train station
Anna Maria Kasimati
captain
David Tolias
sailor
Mihalis Karatzas
party animals
Vanessa Zouganeli, Yiorgos Kotanidis, Evris Papanikolas, Vasilis Kosmopoulos
Aristogiton
Nikos Lambropoulos
Cuban singers
Fiona Tzavara, Christina Coutieris
music band
La Macchina
barman
Damian Garc

CREW

writers
Katerina Bei, Nikos Perakis
director
Nikos Perakis
director of photography
Yiorgos Argyroiliopoulos
producers
Kostas Lambropoulos, Federico Pietra
editor
Yiorgos Mavropsaridis
music
Dimitris Papadimitriou
production manager
Marina Stylianou
set designer
Olga Leontiadou
costume designer
Vaso Tranidou
hair styling
Yiorgos Doudesis
make-up
Maroula Vasiliadou
casting
Yianna Deliyianni
stage manager
Yiorgos Papadatos
post production co-ordinator
Tolis Papathanasiou
sound engineer
Marinos Athanasopoulos
sound mixer
Thanasis Arvanitis
assistant director
Lina Yiannopoulou
visual effects
Nikos Moutselos
camera
Ilias Adamis, Claudio Bolivar
steadicam
Michalis Tsimberopoulos
triangle crane
Dimitris Mavromatis
documentation
Haris Raftoyiannis
Roula’s photo shoot
Takis Diamantopoulos
still photographer
Nikos Nikolopoulos
boom man
Vangelis Papadopoylos
music mix
Vangelis Zisis
sound+music video editor
Κenan Αkkawi
script
Elena Dimitrakopoulou
car stunts
Kostas Lakafosis
special effects+weapons
Solon Yiannoutsos
hair styling
Mary Karambela, Yiorgos Pappas
assistant costume designer
Magda Kaloriti
props buyer
Yiannis Mylonas
assistants to set designer
Dimitra Panayiotopoulou, Irini Kontaxaki, Velis Syrmakesis
constructions
Thanos Baratas, Iakovos Kamitsis
gaffer
Stelios Lepidakis
electrician
Spyros Angelopoulos
transportation
Yiorgos Tsiaras
production assistant
Lambros Karageorgos
public relations
Myrto Apalopoulou, Isabella Mavraki
poster design
Eleni Kaskarika
catering
Christos Zaroliagis

CREW STEFI AE

technical supervisor
Dr.Nikos Kotsis
assistant AVID editor
Ioulia Ziti
DS image composition
Loukas Paletsakis, Manos Hamilakis
3D animation
Yiorgos Faskiotis
graphics
Irini Tzioti
sound studio
Dimitra Christopoulou, Yiorgos Antahopoulos, Stefanos Damianakis
casting
Maximos Karras, Nikos Vasilakis
stage constructions
Nikos Bikos
archive
Ilia Papageorgakopoulos
post co-ordinator
Klio Gkouma, Angela Damaskou
lyrics «Salsa Utopia»
Ilse Asevedo
lyrics «I Can Make It Too»
Odysseas Ioannou
vocal
Fiona Tzavara

EQUIPMENT & LABS

digital cameras
SONY
post-production
Stefi AE
sound processing
Tone Studio
tone recording
Sound Studio
picture procesing
Cinemagic
videο transfer
Cine Pix
lighting+grip equipment
S&S Alexandrou OE

 

producers
STEFI ΑΕ, CLProductions, Nikos Perakis
coproducers
Greek Film Centre, MEGA Channel, FilmNet, Blackfish Editing
distribution
SPENTZOS FILM

 

2001 NIKOS PERAKIS / CL PRODUCTIONS / STEFI FILM / GREEK FILM CENTRE / FILMNET

Duration 103’(25 fps)
Dolby Surround
Frame aspect 1.85:1

POSTERS

STILLS+FRAMES

SCENES

Every time I reach the SCENES chapter I try to find some characteristic ones so the visitor won't download, maybe illegally, a movie that may not interest him at all. Cutting the scenes makes me feel a bit like a pathologist who, unlike those of the various CSIs, has to chop up a living organism and not some zombie. When I put THE BUBBLE on the table it seemed to have turned into a vampire. Thanks to our fellow citizens who can’t or won't detach themselves from the decade of self-destructive consumption, or the lobster-pasta era as columnists call it. So I cut out of THE BUBBLE various slices, like "slices of life" as we called them when I was doing commercials, which, along with the soap opera, continue to shape current aesthetics, sometimes even those of the cinema, but that's another big story. I have put some of these slices in the SHOOTING BOARDS pages, mostly to justify their existence and because they are necessary when the budget is insufficient, or the creator behind the camera is not a genius.

MAKING OF

WORK PHOTOS

When Danae began designing the site she asked me what we should call the subcategories for each movie, and I, pretty much knowing what I'd find in folders and hard drives, had to admit that the site will be of interest only to a curious few. I do not know what other writers and directors save, but it doesn't suit me to recycle a film's shooting boards, or a contact sheet of location photos, or the shooting diary, with dedication, that the script person gave me at the wrap. Note that the film archive, to which I agreed to leave all my belongings, asked me not to throw anything away, even casting videos on VHS from 1981. I guess they know why. But beyond that, in these materials can be found the reasons why a scenario or the final film itself took a particular turn. Who is interested in all of this? Ρerhaps a student doing his master’s in 2050 on a specialized topic such as "The revultion of the Greek cinema and its audiences by politics in the first decade of the 21st century." In writing "THE BUBBLE", I was especially interested in the life and works of Ioannis Ioannou or Spartacus, ideological leader of the Revolutionary Organization 17 October (EO17O). In the end I could not bear to kill him or hand him over to the counterterrorist squad. As for this bastard Manolas, instead of bringing him up before an inquiry committee I sent him to a monastery on Mount Athos to remain there as a latent threat.

TEASERS+TRAILERS+TV SPOTS

VIDEO CLIPS+MUSIC THEMES

SHOOTING BOARDS+SCRIBBLES

ASIDES