Filmmaker Roberto Bentivegna recently stopped by the Chelsea to film a short murder mystery. 
Thanks for giving us another ghost to be on the look out for! We hope he's talking hypothetically when he says that he can't think of a better place to kill oneself than the Chelsea Hotel. Oh, and if anybody knows the story about Milos Forman and the dwarves we'd be interested in hearing it.
How'd you get interested in film?
It’s something I’ve always wanted to do, ever since I was 8 years old. I saw Terry Gilliam’s “The Adventures of Baron Munchausen” and was totally overwhelmed by its energy and creativity. I know that the film didn’t do so well when it was released, and a lot of people hated it, but it really sparked something in my brain. Music is the other big thing in my life, so I had to pick between the two things. I don’t think either one is particularly safe, financially, but safety is boring and overrated. I don’t really want to give myself any back-up plans. I’m 24, doing an MFA at Columbia University in Directing, so I am in that stage of life where I’m starting to fear hunger and homelessness a little bit. But I could always play guitar in the subway or make wedding videos, I guess.
What's the most rewarding aspect of creating a film? In terms of the craft itself, I think that the planning is the most exciting and satisfying part. During that period, I am incredibly naïve and actually believe that my shotlists and rehearsals will magically engrain themselves into the finished film, and that nothing will affect that. Of course, this is almost never the case. As far as I know, animation is probably the only “genre” in which every single shot is designed and executed as conceived. Hitchcock storyboarded all of his films extensively but he worked in a very specific style that didn’t allow for much freedom. It’s important to be flexible and open up to the possibilities of the location, or the actors, or even the weather. Nothing should be locked.
Which filmmakers do you most admire? I adore Stanley Kubrick’s work for a variety of reasons. Firstly, he gained artistic independence very early on and never let go, which is rare for a director. Secondly, his framing and imagery is closer to painting and photography than it is to “cinema”, and yet he is probably the most cinematic of all filmmakers. Finally, I am a big fan of genre-blending, and don’t think I could only work in the confines of one genre. So it’s very refreshing to see Kubrick’s filmography and notice that virtually every film he made was different from the previous one. That, to me, is the sign of a true artist: constantly changing and re-inventing himself.
I also appreciate Luchino Visconti, Federico Fellini, Martin Scorsese, Terry Gilliam, Michael Powell, Werner Herzog, Steven Spielberg, David Cronenberg, Jean Renoir and Brian De Palma. That’s just a tiny list. I adore all filmmakers because I know how difficult it is to make a good film, and how underrated- ironically, considering how popular it is- it is as an art form.
Read more of Roberto's interview
Has your art been inspired by any former or current residents?
Of course, Kubrick is at the very top of my list as I mentioned earlier. Also, Milos Forman, who has stated that he makes the Chelsea his home when he visits New York. He was the chair of the Film Department at Columbia University for years, and still visits occasionally for special master-classes. I admire his work very much, particularly “The People VS. Larry Flynt”. I thought Ethan Hawke’s “Chelsea Walls” was quite interesting, and I am a big fan of both “Sid and Nancy” and “Leon: The Professional”. Both films were shot at the Chelsea.
I can’t say I know much of Andy Warhol’s film work other than the features he produced starring Udo Kier, but I would be interested in seeing more now that I have a direct link with the cinematic history of the hotel!
Do you think the Chelsea Hotel has a creative spirit?
Absolutely. Although I think that some of the creativity that people experience might be self-inflicted. I think that the history is so rich, and the successes so consistent, that people are almost forced to be creative. It’s like having very demanding parents that want their kid to be the best student at school. You want to be a part of history and you want the Chelsea to be a part of you. That is also why I made the film. Because I know that it immortalizes the Hotel, and in this day and age it is hard to tell what will happen to old institutions like the Chelsea. My film, even though it is just a little low-budget short, will always be there as a document of the Chelsea Hotel in it’s 3rd century of life.
What's your favorite Hotel Chelsea story?
There’s one about Milos Forman and a bunch of dwarves that is great. I can’t remember the exact details. I am a big fan of dwarves. Before I die, I want to make an exploitation B-movie about a serial killer dwarf. The tagline will be “He’s a small man… with a big problem”. And the poster will show a huge shadow holding a machete, with a tiny little dwarf poking his head into the frame, innocently.
One story that I love: the neighbor who calmly sips beer with the guy across the hall, only to realize (police raid and all) that the guy had just murdered his wife.
Did you know that we have a saying around here about people who check in just to check out? Was that your character's motivation? Funnily enough, I didn’t think of that when I wrote the script... but it certainly makes sense. I can’t think of a better place to kill oneself than the Chelsea Hotel.
Any future plans?
I am done with full-time study in May of 2007 and will be facing life and other catastrophes as soon as that happens. I am planning on a Feature Film in 2007 and of course am always interested in hearing comments about my work and being in touch with fellow creative spirits. My e-mail address is [email protected].
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