It was around the mid-80s when she appeared one day in the Reportage Office of ERT (National Broadcast Station), a bush of brown hair, and underneath it a 20-year old girl with glasses. Any other Lucia at her age, who would come at a TV station, would have to be blonde and to look like Cindy Loper, or at least like Samantha Fox.
Lucia Rikaki looked like nobody else, because she had already begun to make dreams in another language long before that. She looked like none of us either. She was far ahead of her time, restless, into everything, hyperactive, untamed, and always with a huge smile.
One summer we went together to Rhodes, to make a show, one of those which we presented to our editors for approval one way, and then the final result turned out to be a whole different thing. We had agreed that we would be also directing it differently, without our – somewhat indifferent – director even knowing about it. So here we were, on an empty beach in the middle of the night, two crazy women and our sound engineer, recording waves and winds, because (according to Lucia) these sounds would create “bridges” which would rescue our voice-over from the infection of foolish – though inevitable – statements and announcements by politicians. So during editing, along with the great Panos Kaloudas, we put subversive poetic wave splashes behind pompous statements by Kostas Laliotis.
You know what, Lucia? You’ve never left. You’ve just vanished like you did back then, on ERT first floor, when you used to give instructions before you disappeared, “if someone asks about me, I'm going up for video tapes,” and then you'd go to hide in some empty offices, in order to listen to music or watch material from abroad.
I remember your colorful T-shirts, and your bracelets. Your movies, your mom being your match when it came to dreaming and planning. I remember you trying to explain your ideas to Giompazolias, Netas and Antypas, in that little office down the hall, but eventually approval went to proposals by Vlastaris and Stai. They were closer to those supposedly socialist ideals of the 80s. I remember you planning, planning, planning... We were laughing a lot back then, and we were taking notes all the time... You would go on and make movies at some point, and I would make shows about travels. The money for travel expenses which were never enough, do you remember that? Remember the hotels, when the city authorities wouldn’t leave us alone; and while I was trying to put things in order, about what time and where we would to do the shooting, because otherwise Pavlina from production would kill us both, you were on that little tape recorder looking for the music to put on the show… That was your one and only care. That, and getting to go to the beach.
2011 TRIBES OF ATHENS - Episode “ALBANIA” 45’ NET (Executive Producer: Prosenghisi Film & Video Productions Ltd)
1996 ZAP 13 episodes x 30’ ET1
1995 REAL-LIFE STORIES 13 episodes x 90’ ET2
1995 CINEMA MAGAZINE 30’ for the German channel WDR
1995 ABORIGINAL SONGLINES 30’ RTP
1995 FRINGE FESTIVAL 30’ in Australia
1995 GREEKS IN AUSTRALIA television series 4 episodes
1994 HOW ARE THE KIDS 6 episodes x 30’ ET1
1993 92,9 European TV Magazine for young people ET1
1993 THE ROYAL BALLET OF FLANDERS 120’ ET1
1992 MOSAIC - TV Culture Magazine 43 episodes x 30’ ET2
1992 DANCE PLUS Modern Greek dancers and choreographers 45’ ET2
1992 IN THE MADNESS OF ADVERTISING with Yiorgos Veltsos 26 episodes x 30’ ET1
1992 GREEK ARTISTS IN SWEDEN 60’ ΕΤ1
1991 TRAVEL ART 60 episodes x 5’ ET2
1991 IMAGES OF VIOLENCE AND WAR IN THE MEDITERRANEAN THEATRE 6 episodes x 30’
1990 SAKIS SOUNTOULIDIS 30’ ET1
1990 SERGEI PARAJANOV Art Chanel Holland 30’ SVT Sweden
1989 YIORGOS KOSTAKIS Documentary 30’ ET1
1983 TONE COLOUR Weekly Rock Music Programme 13 x 30’ EΤ2
1985-1987 COLOURS Weekly Programme 72 episodes x 60’ EΤ1
1982 HERE AND NOW WITH OPEN CARDS ET1 (Production Assistant)