Tuna Tuna

First of all, we'd like to get to know you. Who is Tuna?

I was born in Ankara. At 18, I came to Istanbul for university and started my undergraduate studies in Film Design at Marmara University. I graduated in 2020 and started my master's degree in the same department in 2021. During my undergraduate years, I participated in competitions with short films and started working in the industry.

When did you realize your interest in cinema? When was the moment you said, "This is what I need to do"?

I can say I realized it when the first camera phones came out. My father bought me a phone with a camera. I started shooting things constantly. I realized I could edit using the camera's "pause" feature; I was making short films. I wasn't just watching what I saw, I was questioning it. I was 5-6 years old, and when I discovered how powerful storytelling is through cinema, it seemed almost magical to me. You can combine many tools and create a new world, and that still seems amazing to me.

How long have you been doing this professionally?

I've been professionally involved in this industry for about 7 years.

Do you have a routine that motivates you?

Honestly, not really. I like to live in the flow. I believe that when I naturally let myself go with the flow, both my life and my work go better. Of course, I make plans, but sometimes you need to break that plan, because things sometimes evolve unexpectedly. I've tried to create a routine, but routine isn't suitable for some people; I'm one of those people. Especially sitting down and working with the images in the editing room after shooting, it makes me feel something completely different. I generally like the changes I make.

The "universe" in the commercial starring Seda Bakan was very striking. How did that atmosphere come about?

Yes, that world was truly an "extraterrestrial" place. And that's exactly what we wanted: to create a universe that doesn't belong to our world but has somehow infiltrated it. I wanted to interpret this universe from my own perspective.

It's a tough market, it's not easy to survive. Despite this, you've established a strong position. How did you manage it?

It's really difficult. In Turkey, as in many sectors, in this field too, "who you know" can be more important than the quality of your work. Sometimes, people who do average work but have the right connections can get ahead. I, on the other hand, relied on the quality of my work. When I'm bored at home, I watch my own work, and I still like it. The people who really need to see it, see it. Meeting someone who understands my work and imbues it with their soul is very valuable.

Have you ever had a piece of work where you could say, "This is my work, this is me"?

Yes, I have a work called "Empose." That film reflected my world very well. It was a production where we abstracted ourselves from the real world and introduced our own world. For me, it's very important that the world created belongs to me. It doesn't have to be surreal, but the color palette, the light, the emotions should form a whole. "Empose" achieved that.

You have amazing cinematography. How did you develop it? Was it a school process, or an individual effort?

I did four years of undergraduate studies and two years of graduate studies. School gave me a visual perspective, but I can't say it contributed much technically. Technical knowledge develops entirely through personal effort. Directing light, "painting" the image, is all about trial and error and eye training.

What projects do you want to make in the future?

I want to make a feature film. But before that, I'm questioning what I'm involved in, what aesthetic perspective I have. Right now, I have a perspective I've developed in the fields of fashion and advertising; I'm thinking about how to reflect this in a two-hour feature film. Most of my friends dropped out of university because they weren't concerned about getting a diploma. They worked as technical staff for a long time but couldn't develop their artistic side. I resisted going in that direction for a long time. Technical knowledge is important, but focusing only on that aspect scares me a lot.

What is your biggest fear regarding your career?

Repetition. Becoming the same. That's the biggest danger for an artist.

What would you like to say to young people?

If they really want something, they should go all the way. Success will come naturally. Many people today work in jobs that don't match their professions because they just want to earn money. I wanted to do this job since childhood. My father told me, "You have the right to two universities; if you get in, you can study film." I was determined, and I got in. My family was always by my side throughout the process. I'm 27 now, and I'm so glad I chose this profession.

Do you have any thoughts about working in Europe?

Not right now. Because I love to fight. I value being in my own country, producing things on this land. Of course, I might go abroad someday, why not? But completely forgetting about this place is painful for me. There's always hope; you have to try. Complaining is easy, but someone needs to change things. We can't get anywhere just by complaining.