Max Guther
Max Guther is a Berlin-based illustrator. Working with a mix of 3D and Photoshop, he creates worlds with a focus on both interior and exterior design – but also on the minutiae of everyday life. He captures a larger truth about human behavior by combining stereotypical storytelling with scenic composition. Obsessed with the isometric perspective, Max gives a wider scope of a scene which leads the viewer up to an an all-seeing vantage point.
Fargo
Jerry Lundegaard, an in-debt Minnesota car salesman – hires two thugs to kidnap his wife in order to extort a ransom from her wealthy father. The dark scheme goes awry when a state trooper is murdered in the process.
V:
What film has had the most impact on your practice, and how has it directly influenced your work?
MG:
Generally, I pull inspiration from a lot of different movies. Some films have particularly strong characters or a surrealistic set design, others an interesting composition or an exciting plot. It’s almost impossible to name just one film that has influenced my work the most – it’s probably rather a combination of innumerable films. But if I had to…for me the films of Ethan and Joel Coen are always associated with a fascinating combination of an intriguing plot, a strong cast with a sense for stereotypical characters, atmospheric and scenographic visuals, and a suitable selection of soundtracks. Notable ones include Fargo, No Country for Old Men, and Burn After Reading – just to name a few.
The Truman Show
Truman Burbank, an insurance salesman, discovers he is unknowingly the star of his own reality TV show. The Truman Show, a live broadcast filmed by hidden cameras, captures every moment of Truman’s life, from infancy to current day.
V:
Scenography plays a major role in your work, of all the films you’ve viewed, is there one scene that’s always stuck with you?
MG:
One scene that’s always stuck in my mind is a moment in The Truman show when Jim Carrey hits the edge of the dome with a boat, runs up the cloud stairs, and leaves the stage. This moment is not only unfathomably sad, but filled with joy at the same time, and the hope that everything will end up well for him. The incredibly exciting camera shot paired with the music composition is super impressive – but what excites me the most is the surreal, almost magical stage setting.
V:
Your practice focuses on telling visual stories through abstracted everyday realities – if you could make one film your reality, what would it be and why?
MG:
I recently watched the film, Everything Everywhere All at Once – and the idea that every decision influences reality in such a way that it creates a countless number of new realities is not only frightening but also very fascinating at the same time. Even though the film ultimately shows that we are the creators of our reality, m<answer is yes, I want all the realities.