Variety Critics’ Choice Helmer Noaz Deshe Reveals Multi-disciplinary Plans

Variety Critics’ Choice Helmer Noaz Deshe

There are barely enough hours in the day for Israel-born, Berlin-based helmer Noaz Deshe, winner of the Venice fest “Lion of the Future” for his debut “White Shadow,” to fit in his multiple projects. A veritable Renaissance man, the charismatic artist/writer/composer/musician/performer is working on his next screenplay, which for now remains under wraps, but while in Karlovy Vary for the Variety Critics’ Choice program, he took a few minutes to reveal some of his other plans.

Deshe, who performs what he dubs “haunted folk music” in character as “Ghost Cowboy” (he served as the opening act for Deadman’s Bones, Ryan Gosling’s band), will continue to collaborate with multi-instrumentalist and composer James Masson, with whom he shares screenplay and music credits on “White Shadow.” “We have enough leftover music to make an interesting album and a show,” says Deshe. “James has no limits to what he can do from programming computer games to mimicking a human voice on a slide guitar.”

Also on the horizon is another opportunity to join forces with helmer Babak Jalali, for whom he composed the score of “Frontier Blues.” Deshe says, “Babak, who co-produced “White Shadow,” is one of the most soulful talented people I know, His screenplay received accolades at the Torino film lab, and I cannot wait to go help on his new project.”

In the realm of visual arts, Deshe has a painting and mixed-media exhibition in the works for Berlin, in collaboration with Berlin artist Lea Walloschke. The pieces will depict the dreams of the characters from his long-gestating graphic novel.

Meanwhile, while touring world fests with “White Shadow,” he found a like-minded soul in Sultan Sharieff of Detroit’s Cinetopia. The two men have a shared dream to create a lab in the Motor City to facilitate collaborations between narrative storytellers and scientists, working with exciting new technologies on the edge of science. Deshe says: “There are all these new technologies. You can almost record dreams, you can feel the tip of it, EEG scanners, fMRI machines that study how you perceive images, they all are hungry for narrative. Science needs to intersect with creative to give context to great ideas, in the hope that those great ideas don’t get hijacked by military applications first.”

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