“Maya, Give Me a Title”, Interview with Michel Gondry and Maya Gondry

At the 75th Berlinale, visionary filmmaker Michel Gondry and his daughter Maya Gondry present “Maya, Give Me a Title”, a unique and whimsical cinematic experiment. What started as a private father-daughter ritual—Maya providing titles, Michel creating stop-motion animations—evolved into a poetic and playful journey that now reaches audiences worldwide.

Blurring the Line Between Reality and Imagination

For Michel Gondry, storytelling is about transformation. He begins with everyday moments, allowing them to spiral into surreal and magical universes. “I generally start by a very mundane life situation… and then magical things start to happen. Because if I start with something already crazy, then there is no magic. There is no surprise, there is nowhere to go.” In “Maya, Give Me a Title”, this process becomes deeply personal, as each frame serves as a way to feel closer to his daughter: “When I don’t see Maja for weeks, it makes me think of her every single frame. So I feel closer to her.”

From Private Exchange to Public Experience

Initially created as intimate and spontaneous collaborations, these animations have taken on new meaning now that they are being shared with the world. Maya Gondry reflects on this transition: “We chose it together. And it was quite private communication with us, but yes, it made me happy… to present it to the people that want to see it.”

Creativity: Chaos or Structure?

The film thrives on spontaneity, embracing the balance between structure and freedom. Some titles led to simple stories, while others sparked wild, unexpected narratives—each one a creative challenge for Michel Gondry: “Sometimes they are more challenging because of the title. They are more crazy. And it’s fun to try to figure out a story that can include all the elements.”

A Love Letter in Motion

At its core, “Maya, Give Me a Title” is a declaration of love—from a father to his daughter. Gondry acknowledges that filmmaking, especially when personal, carries deep emotions: “I make them very specific for one person. And there is a danger… if I have feelings for a woman, and I make them too loaded with emotion, it could be scary. Yeah. But I still do it.” These animations are small yet powerful expressions of affection, imagination, and connection, making this film one of his most heartfelt works.

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