Language is the fuel that keeps SWEET POTATOES running.
During the 17min running time the characters are show conversing. Discussing not about the actual scene but detailed and passionated discussions about food and accent.
And the profane, highly politically incorrect digressions are often very, very funny. Take away the slow-burn tensionand flashes of brutality and one could see SWEET POTATOES as an adult-oriented comedy.
These characters are constantly role-playing to each other and we can see them as volatile, insecure man-children, trying to maintain bravado and a veneer of detached professionalism under pressure.
Which brings us onto violence.
On-screen violence is the same thing as using a dance number in a musical: splashes of colour, sound, camera move- ment. And all of it rythmed by a Blues-Rock soundtrack.
And here we are: Blues Brothers meet Tarantino.
In a world where there are more and more rules, where we require permission for every word and move we make - my film en- courages people to take a breather and stop for a moment.
Essentially, it talks about life, always with humour and a bit of detachment too - in order to make an impact on audiences and provoke them to ask themselves questions about the world we live in.
It’s a part of myself that I’ve always wanted to express and what better way than via the medium of film? It’s about beingcarefree, having fun without thinking too much or worrying about the consequences ..After all, what’s the problem with that?
And in my films, the characters don’t think a lot. If they do, it’s to get out of the messy situations they’ve created for them- selves. Life is made up of instincts, actions and at the same time, mistakes... and mistakes are our biggest life lessons.
In this film, the characters express themselves in a way that touches the audience’s hearts without making over analyse butinstead, gently nudges them to listen to that quiet inner voice - the one that has always told us what to do, but that we very rarely listen to.
When an audience laughs at an absurd and border-line situation, I know that I’ve done my job. I hear my inner voice saying: ‘See? It’s not so bad to let go!’
At it’s heart, SWEET POTATOES is about listening, laughing, managing your impules, instincts and internal strength. If it bringsa smile to an audience member’s face, then I know I’ve done my job - I’ve won.
That’s why the more violent scenes I include, always have a kind of detachment - I’m not encouraging people to do the same- I don’t condone violence at all...Except when it’s a joke... For example E. Coyote ’s character in The Road Runner Show whoalways gets badly hurt at the end of each episode.
My characters are pure instinct: two walking pressure-cookers... Cadillac, who tries to maintain his equilibrium by meditating and by kissing a woman without asking too many questions and Mustang whose emotional eating is a way of hiding his dailyfrustrations.
It’s about provocation, insults, fighting, eating, screaming, laughing and kissing: at it’s core - life.
It seams simple but at the same time within it’s simplicity, is plenty of of colour. It’s when a message is simple enough to get through rather than getting lost in the hubbub of endless cerebral speeches. It’s like when you eat sweet potatoes... sweet and salty at the same time.