tag:blogger.com,1999:blog-28085121551630573332024-03-06T02:18:24.468-08:00AVANT KINEMA & UNDERGROUND ARTSAthene Noctuahttp://www.blogger.com/profile/15138777467179453959noreply@blogger.comBlogger29125tag:blogger.com,1999:blog-2808512155163057333.post-53389611043868386402021-08-23T17:14:00.001-07:002021-08-23T17:18:38.321-07:00AVANT KINEMA at SHANDY HALL<div><p></p><p><span style="font-family: trebuchet;"><b></b></span></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGMQmQuhLkZwmfU7xbkRwu7jTGCoTditOinSCMvSVjEhX-DwwagRbiGKllZlk6QS5oclKv-nWcNyccb5ouyHiKAI2uyu24FhJZnxzPyVE16QMa3NfJkJiMFdOtH3AQnu-IjrpqG5pIsZC_/s2048/MALLARMEStillsForFilm_79.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1121" data-original-width="2048" height="270" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGMQmQuhLkZwmfU7xbkRwu7jTGCoTditOinSCMvSVjEhX-DwwagRbiGKllZlk6QS5oclKv-nWcNyccb5ouyHiKAI2uyu24FhJZnxzPyVE16QMa3NfJkJiMFdOtH3AQnu-IjrpqG5pIsZC_/w493-h270/MALLARMEStillsForFilm_79.jpg" width="493" /></a></b></div><b></b><p></p><p><span style="font-family: trebuchet;"><b>PRESS RELEASE August 2021</b></span></p><p><span style="font-family: trebuchet;">This weekend sees the launch of <i>Imprints: Art Editing Modernism</i>, an exhibition of art inspired by works of Modernist literature. The exhibition, which runs from Saturday 28th August to Saturday 11th September 2021 at the <a href="https://www.laurencesternetrust.org.uk/shandy-hall.php" target="_blank">Shandy Hall</a> gallery in Coxwold Yorkshire, is presented by Glasgow University's <a href="https://imprintsarteditingmodernism.glasgow.ac.uk/" target="_blank">Imprints of the New Modernist Editing</a> project in conjunction with The Laurence Sterne Trust. </span></p><p><span style="font-family: trebuchet;">Scottish Borders based interdisciplinary artists, Avant Kinema - Sarahjane Swan and Roger Simian - were first commissioned by Imprints in 2019 to create a work for the exhibition inspired by the French Symbolist poet </span><span style="font-family: trebuchet;"><a href="https://en.wikipedia.org/wiki/St%C3%A9phane_Mallarm%C3%A9" target="_blank">Stéphane Mallarmé'</a>s difficult final poem, <i>A Throw of the Dice Never Will Abolish Chance</i> (<i>Un coup de </i></span><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><i>dés jamais n'abolira le hasard</i>, 1897).</span></span></p><p><span style="font-family: trebuchet;"><span style="font-family: trebuchet;">Swan and Simian's finished piece, <i>Every Thought Generates a Throw of the Dice</i>, is an ambitious work comprising of multiple forms, including: film, an art book, sculpture, prints, photography, poetry and a deck of tarot style cards based on "twelve virgin symbols" extracted from </span></span><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;">Mallarmé's poem.</span></span></span></p><p><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;">The exhibition "</span></span></span><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;">includes work in a variety of media, including paintings, drawing, sound
works, digital prints, letterpress, silkscreen and engravings,
sculpture, collage, and artists’ books, responding to texts from a range
of different languages and cultures". It was originally scheduled to take place in the summer of 2020 but was postponed because of the Covid-19 pandemic.</span></span></span></p><p><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;">What this unexpected throw of the dice did do, in the case of Avant Kinema, was to allow them an extra year in the company of </span></span></span><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;">Mallarmé and his work.</span></span></span></p><p><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;">"We've always loved the French Symbolist poets," says Roger, "mainly because of their influence on Patti Smith and other rock lyricists, but neither of us was all that familiar with </span></span></span><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;">Stéphane Mallarmé. We'd never even heard of </span></span></span></span><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><i>Un coup de </i></span><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><i>dés </i>until this commission came up."</span></span></span></span></span></span></span></span></span></span></span></span></span></span></p><p><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><i>"</i>We soon grew to love him and his work, though," continues Sarahjane. "The lockdowns allowed us time to do that indepth. </span></span></span></span></span></span></span></span></span></span></span></span></span></span><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><i>Un coup de </i></span><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><i>dés</i> is amazing when you delve into it,</span></span></span></span></span></span></span></span></span></span></span></span></span></span> a typographical experiment, totally groundbreaking for its time, one of the earliest free form poems."</span></span></span></span></span></span></span></span></span></span></span></span></span></span></p><p><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;">"Yes," adds Roger. "It's widely seen as a big influence on the early 20th century Modernist art movements, including DADA and Surrealism, </span></span></span></span></span></span></span></span></span></span></span></span></span></span><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span>concrete poetry, the look of manifestos from the Futurists to the Vorticists, so it immediately seemed familiar to us."</span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></p><p><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span>"In a lot of ways </span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"></span></span></span></span><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><i>Un coup de </i></span><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><i>dés</i> is as much about</span></span></span></span></span></span></span></span></span></span></span></span></span></span> visual imagery, rhythm and musicality as it is about the words," says Sarahjane, "so it seemed natural to us to take an interdisciplinary approach to trying to interpret it. One of the more unusual things I've done for this project is to create a mobile sculpture and eleven still images using shells and feathers in place of words, strictly following the sizing, word count and lay-out of </span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;">Mallarmé's poem. </span></span></span></span><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;">Roger has written new poems, a</span></span></span></span>s well as producing a new literary translation of </span></span></span></span><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><i>Un coup de </i></span><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><i>dés</i></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span>, and we've worked together on film, sound and music, prints, playing cards and publications to try and capture the essence of the original."</span></span></span></span></p><p><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;">Roger: "</span></span></span></span><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><i>Every Thought Generates a Throw of the Dice</i> is our attempt to translate the "untranslatable"."</span></span></span></span></span></span></p><p><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;">Sarahjane: "This is very much an original work really but hugely influenced by </span></span></span></span></span></span><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;">Mallarmé's poem. We both think he would approve."<br /></span></span></span></span></span></span></span></span></span></span></p><p>As well as working on the Imprints of the New Modernist Editing commission throughout 2020 into 2021, the duo have been busy with various other projects, including inventing a fictional 21st century art movement, oobROY, which included its own "Smashed Glass Manifestos". A PDF version is available on the website of Brighton based arts collective <a href="http://www.explodingappendix.com/2021/01/10/oobroy-smashed-glass-manifestos/" target="_blank">Exploding Appendix</a>. <br /><br /></p><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXTwslYzyjRrtaCyuMAvYvjDK-ehHSei8V8Rf3Ti4YCzNycv-pjyvcTLUklSeyEE50hy-GaxQGc1DBLQq4JzFkR5Vxflxnda39jx6WWwCpKYaT2R_SI0bABkSPVzdbkLMpg4i8MxWn4Lu9/s2048/000-Colour+Art+Book+Cover.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1346" data-original-width="2048" height="347" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXTwslYzyjRrtaCyuMAvYvjDK-ehHSei8V8Rf3Ti4YCzNycv-pjyvcTLUklSeyEE50hy-GaxQGc1DBLQq4JzFkR5Vxflxnda39jx6WWwCpKYaT2R_SI0bABkSPVzdbkLMpg4i8MxWn4Lu9/w528-h347/000-Colour+Art+Book+Cover.jpg" width="528" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgE0bXM_2CFJr6sKc5h1aDkAopdlRzZI01MqSpuojjdx5TMY3rcGYFHUhf9jVEUPVTs674AdR_JBzaDillDukINkW57lpB6GZ8foT5TIexAqLNS9PlYasdaHoAXabW4E6fI9bM21wyZrr_/s640/SwanSimian-Hotel.jpg" style="margin-left: 1em; margin-right: 1em;"><br /><img border="0" data-original-height="640" data-original-width="401" height="582" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgE0bXM_2CFJr6sKc5h1aDkAopdlRzZI01MqSpuojjdx5TMY3rcGYFHUhf9jVEUPVTs674AdR_JBzaDillDukINkW57lpB6GZ8foT5TIexAqLNS9PlYasdaHoAXabW4E6fI9bM21wyZrr_/w365-h582/SwanSimian-Hotel.jpg" width="365" /><br /><br /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_tDPWw7jwV1fbTbruj6hCFdvM_9lLDdlvipKblMsXtz4hez53pmRifQonNnx74jkbHmuUa-1YWwzNPF_boj5W_4BrxeHmoSHkQ5aezZ_VTr8TS1-4q-EHHMuJqJ50IXZlt_-HE8x_fiNe/s2048/AThrowOfTheDice-COLOUR_50.tiff" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1452" data-original-width="2048" height="329" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_tDPWw7jwV1fbTbruj6hCFdvM_9lLDdlvipKblMsXtz4hez53pmRifQonNnx74jkbHmuUa-1YWwzNPF_boj5W_4BrxeHmoSHkQ5aezZ_VTr8TS1-4q-EHHMuJqJ50IXZlt_-HE8x_fiNe/w479-h329/AThrowOfTheDice-COLOUR_50.tiff" width="479" /><br /><br /><br /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><span style="font-family: trebuchet;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHYN63ex78BaNkIyFTk9_lZXwk3ZmzAotLRcE0L-Rneh2GYeGL_pwpRkojcz26dlR8LodMk5q7J38fdZfXMMeEiCk7O60G1ZRAz3jRYTMx0llsR8WS8KsUy91muec9wg8Svv55LswqL6sd/s1485/AThrowOfTheDice-COLOUR_6.tiff" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1485" data-original-width="1375" height="343" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHYN63ex78BaNkIyFTk9_lZXwk3ZmzAotLRcE0L-Rneh2GYeGL_pwpRkojcz26dlR8LodMk5q7J38fdZfXMMeEiCk7O60G1ZRAz3jRYTMx0llsR8WS8KsUy91muec9wg8Svv55LswqL6sd/w317-h343/AThrowOfTheDice-COLOUR_6.tiff" width="317" /><br /></a></span></span></span> <br /></div><p style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9ekcT1qNJQ1woapaJobeJHXGr9redZuW8b220dJqbnXqswTY92kRasTn6MfBEDcgIKLOd64qMQHMGfkS4_Etis0VyA2M5bu1oav_VPEZreuT_JjbaJkmrO440LXMCEuyXU9HZdKEzF_Dn/s1280/ScreenShots-000a.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="1280" height="293" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9ekcT1qNJQ1woapaJobeJHXGr9redZuW8b220dJqbnXqswTY92kRasTn6MfBEDcgIKLOd64qMQHMGfkS4_Etis0VyA2M5bu1oav_VPEZreuT_JjbaJkmrO440LXMCEuyXU9HZdKEzF_Dn/w520-h293/ScreenShots-000a.jpg" width="520" /></a></p><br /></div><div style="text-align: center;"><br /></div><div><br /><br /><br /><p style="text-align: center;"><br /></p></div>Athene Noctuahttp://www.blogger.com/profile/15138777467179453959noreply@blogger.com0tag:blogger.com,1999:blog-2808512155163057333.post-55830899017077640262020-01-05T15:31:00.000-08:002020-01-05T15:53:47.320-08:00Avant Kinema - 2020 Visions<div style="text-align: center;">
<span style="font-size: medium;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: medium;"><span style="font-family: "trebuchet ms" , sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6uS1TxH0a7nuWR7q938P5zA40AUQTNBcJFfnq-9MTL2RT8Az0SN3m_bdeWYwNEjHiONFlu3qW3Fr-x04VJ-uW3o5epolFHjml2ART2hLFOqyHwD3nc0_1NSybdRjbAj2ThabHXJyuYe78/s1600/BirdMonkey-BW-MacPlaywrights.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="960" data-original-width="601" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6uS1TxH0a7nuWR7q938P5zA40AUQTNBcJFfnq-9MTL2RT8Az0SN3m_bdeWYwNEjHiONFlu3qW3Fr-x04VJ-uW3o5epolFHjml2ART2hLFOqyHwD3nc0_1NSybdRjbAj2ThabHXJyuYe78/s640/BirdMonkey-BW-MacPlaywrights.jpg" width="400" /></a> </span></span></span></span></div>
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<span style="font-size: medium;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: medium;"><span style="font-family: "trebuchet ms" , sans-serif;">2019 was an exceptional year for Avant Kinema's Sarahjane Swan & Roger Simian with film screenings in<span style="background-color: white; color: #1c1e21; display: inline; float: none; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"> Glasgow, Edinburgh</span><span class="text_exposed_show" style="background-color: white; color: #1c1e21; display: inline; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">, London, Croatia, Sweden (Västerås), the USA (Florida), Brazil (Porto Alegre & Florianopolis), Australia (North Bellarine) and Italy (Foggia) as well as broadcasts across several US states as part of the experimental cable show, <i>Here Comes Everybody</i>. </span></span></span></span></span><br />
<span style="font-size: medium;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: medium;"><span style="font-family: "trebuchet ms" , sans-serif;"><span class="text_exposed_show" style="background-color: white; color: #1c1e21; display: inline; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">The duo were awarded a grant for analogue filmmaking equipment by the Hope-Scott Trust and won the </span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span class="text_exposed_show" style="background-color: white; color: #1c1e21; display: inline; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="background-color: white; color: #1c1e21; display: inline; float: none; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">Pauline Fay Lazarus Prize for work using the human form </span></span></span></span><span style="font-size: medium;"><span style="font-family: "trebuchet ms" , sans-serif;"><span class="text_exposed_show" style="background-color: white; color: #1c1e21; display: inline; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="background-color: white; color: #1c1e21; display: inline; float: none; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="font-size: medium;"><span style="font-family: "trebuchet ms" , sans-serif;"><span class="text_exposed_show" style="background-color: white; color: #1c1e21; display: inline; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="background-color: white; color: #1c1e21; display: inline; float: none; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">for their hand-processed Super 8 film, <i>Boy and the Sea</i></span></span></span></span>, at the opening of the </span></span></span></span><span style="font-size: medium;"><span style="font-family: "trebuchet ms" , sans-serif;"><span class="text_exposed_show" style="background-color: white; color: #1c1e21; display: inline; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="background-color: white; color: #1c1e21; display: inline; float: none; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="font-size: medium;"><span style="font-family: "trebuchet ms" , sans-serif;"><span class="text_exposed_show" style="background-color: white; color: #1c1e21; display: inline; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="background-color: white; color: #1c1e21; display: inline; float: none; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><i>SSA + VAS: Open</i> exhibition </span></span></span></span></span></span></span></span><span style="font-size: medium;"><span style="font-family: "trebuchet ms" , sans-serif;"><span class="text_exposed_show" style="background-color: white; color: #1c1e21; display: inline; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="background-color: white; color: #1c1e21; display: inline; float: none; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="font-size: medium;"><span style="font-family: "trebuchet ms" , sans-serif;"><span class="text_exposed_show" style="background-color: white; color: #1c1e21; display: inline; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="background-color: white; color: #1c1e21; display: inline; float: none; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="font-size: medium;"><span style="font-family: "trebuchet ms" , sans-serif;"><span class="text_exposed_show" style="background-color: white; color: #1c1e21; display: inline; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="background-color: white; color: #1c1e21; display: inline; float: none; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">in Edinburgh</span></span></span></span></span></span></span></span>.</span></span></span></span></span></span><br />
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<span style="font-size: medium;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: medium;"><span style="font-family: "trebuchet ms" , sans-serif;"><span class="text_exposed_show" style="background-color: white; color: #1c1e21; display: inline; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="background-color: white; color: #1c1e21; display: inline; float: none; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKzVubXulX9VLPCqra2wzgWErK2iO9IJ8iTCW0wdyd5rJMoNNi5xZOhdCGgFeOSOIWkgRkui9DMTjE5Btwr5AoABW9OoPf3wwVordY4_MkplwJwOuKzNjYkjicWDik6yFq4o3A4Yzqk5ys/s1600/Boy+and+the+Sea+New.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1079" data-original-width="1439" height="476" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKzVubXulX9VLPCqra2wzgWErK2iO9IJ8iTCW0wdyd5rJMoNNi5xZOhdCGgFeOSOIWkgRkui9DMTjE5Btwr5AoABW9OoPf3wwVordY4_MkplwJwOuKzNjYkjicWDik6yFq4o3A4Yzqk5ys/s640/Boy+and+the+Sea+New.jpg" width="640" /></a></span></span></span></span><span style="font-size: medium;"><span style="font-family: "trebuchet ms" , sans-serif;"><span class="text_exposed_show" style="background-color: white; color: #1c1e21; display: inline; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="background-color: white; color: #1c1e21; display: inline; float: none; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"> </span></span></span></span></span></span></div>
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<span style="font-size: medium;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: medium;"><span style="font-family: "trebuchet ms" , sans-serif;"><span class="text_exposed_show" style="background-color: white; color: #1c1e21; display: inline; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="background-color: white; color: #1c1e21; display: inline; float: none; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><i>Boy and the Sea</i> is currently screening daily as part of this exhibition at the RSA, on the Mound, until the 30th of January, and can be seen around 12.30 each day in the Cutlog Moving Image room. </span></span></span></span></span></span><br />
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<span style="font-size: medium;"><span style="font-family: "trebuchet ms" , sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVAO73PepjW8vJcr2LJZY3HzJYWlswKhuyfbXtiicCEG2h_zZdzJ6FUkMvt2PWIcxXqHasNJzCGVo3s6CXx9t64MUji1G7O8xIsNM28ua4Nk4CRxTYpcIOwDy_8unf-vnYEn-sBaelvUtc/s1600/Cutlog.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="518" data-original-width="1399" height="236" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVAO73PepjW8vJcr2LJZY3HzJYWlswKhuyfbXtiicCEG2h_zZdzJ6FUkMvt2PWIcxXqHasNJzCGVo3s6CXx9t64MUji1G7O8xIsNM28ua4Nk4CRxTYpcIOwDy_8unf-vnYEn-sBaelvUtc/s640/Cutlog.jpg" width="640" /></a></span></span></div>
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<span style="font-size: medium;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: medium;"><span style="font-family: "trebuchet ms" , sans-serif;"><span class="text_exposed_show" style="background-color: white; color: #1c1e21; display: inline; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="background-color: white; color: #1c1e21; display: inline; float: none; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="font-size: medium;"><span style="font-family: "trebuchet ms" , sans-serif;"><span class="text_exposed_show" style="background-color: white; color: #1c1e21; display: inline; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="background-color: white; color: #1c1e21; display: inline; float: none; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiD9sX3PFxB2KTnsS3EGOVxlgn3yhbPjj2d2_ahfkYxdVhwvqKOnQRSK1r3Z4GkgTxeMybJ0hNrt-Br5WzoZ9rO7kQlgdMymuzZ8pmA2DIEMD2aKVskoGnBT5wMoe_FHQfj4A8cyEkluXV9/s1600/SSA%252BVAS+Open.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1480" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiD9sX3PFxB2KTnsS3EGOVxlgn3yhbPjj2d2_ahfkYxdVhwvqKOnQRSK1r3Z4GkgTxeMybJ0hNrt-Br5WzoZ9rO7kQlgdMymuzZ8pmA2DIEMD2aKVskoGnBT5wMoe_FHQfj4A8cyEkluXV9/s640/SSA%252BVAS+Open.jpg" width="592" /></a></span></span></span></span> </span></span></span></span></span></span></div>
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<span style="font-size: medium;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: medium;"><span style="font-family: "trebuchet ms" , sans-serif;"><span class="text_exposed_show" style="background-color: white; color: #1c1e21; display: inline; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="background-color: white; color: #1c1e21; display: inline; float: none; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">2020 is already looking to be even more exceptional for Avant Kinema with the announcement that the duo's film, <i>Alphonso's Jaw</i> (which grew out of their 2016 installation of the same name at the Alchemy Film and Moving Image Festival) will tour the world throughout the year as part of the TIME is Love screenings. The promotional poster for this 12th edition of TIME is Love - which has <i>Universal Feelings: Myths & Conjunctions</i> as its theme - features a still </span></span></span></span><span style="font-size: medium;"><span style="font-family: "trebuchet ms" , sans-serif;"><span class="text_exposed_show" style="background-color: white; color: #1c1e21; display: inline; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="background-color: white; color: #1c1e21; display: inline; float: none; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="font-size: medium;"><span style="font-family: "trebuchet ms" , sans-serif;"><span class="text_exposed_show" style="background-color: white; color: #1c1e21; display: inline; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="background-color: white; color: #1c1e21; display: inline; float: none; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="font-size: medium;"><span style="font-family: "trebuchet ms" , sans-serif;"><span class="text_exposed_show" style="background-color: white; color: #1c1e21; display: inline; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="background-color: white; color: #1c1e21; display: inline; float: none; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">from </span></span></span></span><span style="font-size: medium;"><span style="font-family: "trebuchet ms" , sans-serif;"><span class="text_exposed_show" style="background-color: white; color: #1c1e21; display: inline; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="background-color: white; color: #1c1e21; display: inline; float: none; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="font-size: medium;"><span style="font-family: "trebuchet ms" , sans-serif;"><span class="text_exposed_show" style="background-color: white; color: #1c1e21; display: inline; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="background-color: white; color: #1c1e21; display: inline; float: none; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><i>Alphonso's Jaw</i></span></span></span></span></span></span></span></span>.</span></span></span></span></span></span></span></span></span></span><br />
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<span style="font-size: medium;"><span style="font-family: "trebuchet ms" , sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjILd9P2SZDuK7IUUhEOntbZ08DJ4YaA7C9Mumk7DwxO2QBN-gjiANQ73ouW9JAPivEaqrfe4ZeGyBaiU-KW9rLiBsh2VP4nSC6uZEkux0s7Fqkjtmo0Cd8UpPPDZR1lEr73o0PlvEu4uoW/s1600/Alphonso-00-TimeIsLove.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1600" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjILd9P2SZDuK7IUUhEOntbZ08DJ4YaA7C9Mumk7DwxO2QBN-gjiANQ73ouW9JAPivEaqrfe4ZeGyBaiU-KW9rLiBsh2VP4nSC6uZEkux0s7Fqkjtmo0Cd8UpPPDZR1lEr73o0PlvEu4uoW/s640/Alphonso-00-TimeIsLove.jpg" width="640" /></a></span></span></div>
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<span style="font-size: medium;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: medium;"><span style="font-family: "trebuchet ms" , sans-serif;"><span class="text_exposed_show" style="background-color: white; color: #1c1e21; display: inline; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="background-color: white; color: #1c1e21; display: inline; float: none; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="font-size: medium;"><span style="font-family: "trebuchet ms" , sans-serif;"><span class="text_exposed_show" style="background-color: white; color: #1c1e21; display: inline; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="background-color: white; color: #1c1e21; display: inline; float: none; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">TIME is Love was s</span></span></span></span>tarted in 2008 by African artist and curator, Kisito Assangni, as "an annual video art program on the theme of love in hard times... Conceptually diverse, emotionally incisive and visually inventive, the selected works transform the most familiar video art into an illuminating investigation of contemporary culture". Each year Assangni handpicks artist-filmmakers from around the world to fill his programme. </span></span></span></span></span></span><br />
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<span style="font-size: medium;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: medium;"><span style="font-family: "trebuchet ms" , sans-serif;"><span class="text_exposed_show" style="background-color: white; color: #1c1e21; display: inline; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="background-color: white; color: #1c1e21; display: inline; float: none; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">T<span style="font-size: medium;"><span style="font-family: "trebuchet ms" , sans-serif;"><span class="text_exposed_show" style="background-color: white; color: #1c1e21; display: inline; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="background-color: white; color: #1c1e21; display: inline; float: none; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">his year Avant Kinema continue their regular exploration of analogue filmmaking equipment and processes with a series of handcrafted, artisan films. </span></span></span></span></span></span></span></span></span></span><br />
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<span style="font-size: medium;"><span style="font-family: "trebuchet ms" , sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjevRJJISJJmpO7Ur7neoGUbnTlEQo42k11GHRzQslcubSzFpueMDHf5MSdWCLvrFVB4odmikid-oW9xBMhSf4meKaVi-MibQCRVa__iatv1T-z7xOzAgXRN6lzmBkXlx33zpbXzYNcMqfb/s1600/SJS+Scratch+Nov+2019l-11.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1440" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjevRJJISJJmpO7Ur7neoGUbnTlEQo42k11GHRzQslcubSzFpueMDHf5MSdWCLvrFVB4odmikid-oW9xBMhSf4meKaVi-MibQCRVa__iatv1T-z7xOzAgXRN6lzmBkXlx33zpbXzYNcMqfb/s320/SJS+Scratch+Nov+2019l-11.jpg" width="320" /></a><span style="font-size: medium;"><span style="font-family: "trebuchet ms" , sans-serif;"><span class="text_exposed_show" style="background-color: white; color: #1c1e21; display: inline; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="background-color: white; color: #1c1e21; display: inline; float: none; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="font-size: medium;"><span style="font-family: "trebuchet ms" , sans-serif;"><span class="text_exposed_show" style="background-color: white; color: #1c1e21; display: inline; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="background-color: white; color: #1c1e21; display: inline; float: none; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"> </span></span></span></span></span></span></span></span></span></span></div>
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<span style="font-size: medium;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: medium;"><span style="font-family: "trebuchet ms" , sans-serif;"><span class="text_exposed_show" style="background-color: white; color: #1c1e21; display: inline; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="background-color: white; color: #1c1e21; display: inline; float: none; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="font-size: medium;"><span style="font-family: "trebuchet ms" , sans-serif;"><span class="text_exposed_show" style="background-color: white; color: #1c1e21; display: inline; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="background-color: white; color: #1c1e21; display: inline; float: none; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">The first of these films, <i>Flow State</i> (influenced by </span></span></span></span></span></span></span></span><span style="font-size: medium;"><span style="font-family: "trebuchet ms" , sans-serif;"><span class="text_exposed_show" style="background-color: white; color: #1c1e21; display: inline; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="background-color: white; color: #1c1e21; display: inline; float: none; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="font-size: medium;"><span style="font-family: "trebuchet ms" , sans-serif;"><span class="text_exposed_show" style="background-color: white; color: #1c1e21; display: inline; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="background-color: white; color: #1c1e21; display: inline; float: none; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">Mihály Csíkszentmihályi's 1970s theory on the mental state of complete absorption in a creative or practical activity) features a cartridge of vintage Super 8 filmstock, each frame painstakingly scratched and coloured by Sarahjane Swan, resulting in a kind of "moving abstract painting" which plays in concord with the largely improvised experimental soundtrack. Here's the 60 second trailer for the film:-</span></span></span></span></span></span></span></span></span></span><br />
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<span style="font-size: medium;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: medium;"><span style="font-family: "trebuchet ms" , sans-serif;"><span class="text_exposed_show" style="background-color: white; color: #1c1e21; display: inline; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="background-color: white; color: #1c1e21; display: inline; float: none; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="font-size: medium;"><span style="font-family: "trebuchet ms" , sans-serif;"><span class="text_exposed_show" style="background-color: white; color: #1c1e21; display: inline; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="background-color: white; color: #1c1e21; display: inline; float: none; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><br /></span></span></span></span></span></span></span></span></span></span>
<span style="font-size: medium;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: medium;"><span style="font-family: "trebuchet ms" , sans-serif;"><span class="text_exposed_show" style="background-color: white; color: #1c1e21; display: inline; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="background-color: white; color: #1c1e21; display: inline; float: none; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="font-size: medium;"><span style="font-family: "trebuchet ms" , sans-serif;"><span class="text_exposed_show" style="background-color: white; color: #1c1e21; display: inline; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="background-color: white; color: #1c1e21; display: inline; float: none; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">Avant Kinema have also been commissioned by the New Modernist Editing Network, based at the university of Glasgow, to create an artwork in response to a text from the constellation of Modernist editions which the network has identified. For this project Swan and Simian have chosen to work on an interdisciplinary "translation" of the French Symbolist poet, </span></span></span></span></span></span></span></span><span style="font-size: medium;"><span style="font-family: "trebuchet ms" , sans-serif;"><span class="text_exposed_show" style="background-color: white; color: #1c1e21; display: inline; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="background-color: white; color: #1c1e21; display: inline; float: none; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="font-size: medium;"><span style="font-family: "trebuchet ms" , sans-serif;"><span class="text_exposed_show" style="background-color: white; color: #1c1e21; display: inline; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="background-color: white; color: #1c1e21; display: inline; float: none; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">Stéphane Mallarmé's "untranslatable" final poem, <i>A Roll of the Dice will Never Abolish Chance</i> (</span></span></span></span></span></span></span></span><span style="font-size: medium;"><span style="font-family: "trebuchet ms" , sans-serif;"><span class="text_exposed_show" style="background-color: white; color: #1c1e21; display: inline; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="background-color: white; color: #1c1e21; display: inline; float: none; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="font-size: medium;"><span style="font-family: "trebuchet ms" , sans-serif;"><span class="text_exposed_show" style="background-color: white; color: #1c1e21; display: inline; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="background-color: white; color: #1c1e21; display: inline; float: none; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="ILfuVd"><span class="e24Kjd"><i>or Un coup de dés jamais n'abolira le hasard</i>). </span></span></span></span></span></span></span></span></span></span></span></span><br />
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<span style="font-size: medium;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: medium;"><span style="font-family: "trebuchet ms" , sans-serif;"><span class="text_exposed_show" style="background-color: white; color: #1c1e21; display: inline; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="background-color: white; color: #1c1e21; display: inline; float: none; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="font-size: medium;"><span style="font-family: "trebuchet ms" , sans-serif;"><span class="text_exposed_show" style="background-color: white; color: #1c1e21; display: inline; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="background-color: white; color: #1c1e21; display: inline; float: none; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="ILfuVd"><span class="e24Kjd"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsYjCF4oDnRNPYFolj_pvid1mnCWTjB7CMH719t4gWOUYFum9N0jOmde5pK_qQW-5U2ZB2gmOsRjSdykStnKnb6S_wjxO1fGPwC9obPdi5ttMNO4hyphenhyphenBmMGe4qSkSmCL5wxQTAkbt82s_xf/s1600/NewModernistEditing.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="300" data-original-width="608" height="312" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsYjCF4oDnRNPYFolj_pvid1mnCWTjB7CMH719t4gWOUYFum9N0jOmde5pK_qQW-5U2ZB2gmOsRjSdykStnKnb6S_wjxO1fGPwC9obPdi5ttMNO4hyphenhyphenBmMGe4qSkSmCL5wxQTAkbt82s_xf/s640/NewModernistEditing.jpg" width="640" /></a></span></span></span></span></span></span></span></span></span></span></span></span></div>
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<span style="font-size: medium;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: medium;"><span style="font-family: "trebuchet ms" , sans-serif;"><span class="text_exposed_show" style="background-color: white; color: #1c1e21; display: inline; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="background-color: white; color: #1c1e21; display: inline; float: none; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="font-size: medium;"><span style="font-family: "trebuchet ms" , sans-serif;"><span class="text_exposed_show" style="background-color: white; color: #1c1e21; display: inline; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="background-color: white; color: #1c1e21; display: inline; float: none; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span class="ILfuVd"><span class="e24Kjd">Avant Kinema's finished work - which should incorporate a mix of film, music, writing and photography - will be presented as part of the</span></span> exhibition, <i>Imprints of the New Modernist Editing</i>, at Shandy Hall in Yorkshire, one-time home of Laurence Sterne, author of the 18th century nove<i>l, </i></span></span></span></span></span></span></span></span><span style="font-size: medium;"><span style="font-family: "trebuchet ms" , sans-serif;"><span class="text_exposed_show" style="background-color: white; color: #1c1e21; display: inline; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="background-color: white; color: #1c1e21; display: inline; float: none; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="font-size: medium;"><span style="font-family: "trebuchet ms" , sans-serif;"><span class="text_exposed_show" style="background-color: white; color: #1c1e21; display: inline; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="background-color: white; color: #1c1e21; display: inline; float: none; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><i>The Life and Opinions of Tristram Shandy, Gentleman</i>. The exhibition runs from the 12th to 26th of July and features a workshop on the 13th of July on the relationship </span></span></span></span></span></span></span></span><span style="font-size: x-medium"><span style="font-family: "trebuchet ms" , sans-serif;"><span class="text_exposed_show" style="background-color: white; color: #1c1e21; display: inline; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="background-color: white; color: #1c1e21; display: inline; float: none; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="font-size: medium;"><span style="font-family: "trebuchet ms" , sans-serif;"><span class="text_exposed_show" style="background-color: white; color: #1c1e21; display: inline; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="background-color: white; color: #1c1e21; display: inline; float: none; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">between text and non-verbal elements. </span></span></span></span></span></span></span></span></span></span><br />
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<span style="font-size: medium;"><span style="font-family: "trebuchet ms" , sans-serif;"></span></span>Athene Noctuahttp://www.blogger.com/profile/15138777467179453959noreply@blogger.com0tag:blogger.com,1999:blog-2808512155163057333.post-34561389747382858562019-10-02T01:47:00.000-07:002020-01-05T15:32:48.473-08:00AVANT KINEMA - Upcoming Screenings<div style="text-align: center;">
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<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><u><b>AVANT
KINEMA - FILM SCREENINGS - August to December, 2019 </b></u></span>
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<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><b>AUGUST</b></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><b>Location:</b>
Glasgow </span>
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<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><b>Festival
/ Venue: </b><span style="font-weight: normal;">Hedera Felix /
ROST</span></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><b>Programme:
</b><span style="font-weight: normal;">Mycelia (issue 2) &
SisM (issue 1) Launch </span></span>
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<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><b>Film:
</b><i><span style="font-weight: normal;">In The Dark I Sat</span></i><span style="font-weight: normal;">
(2012)</span><b><br />Dates & Times: </b><span style="font-weight: normal;">Thurs
29th Aug, 7pm start</span></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><b>SEPTEMBER</b></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><b>Location:</b>
Edinburgh, Scotland </span>
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<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><b>Festival
/ Venue: </b>Art Walk Porty: Portobello Promenade</span></div>
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<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><b>Programme:
</b><span style="font-weight: normal;">Tracing The Tide, </span></span>
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<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><b>Film:</b>
<i>Boy and the Sea</i> (silent, 2019)<br /><b>Dates & Times:</b>
Sat 7th / Thurs 12th, 9-10.15pm</span></div>
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<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><b>Status:</b>
World Premier </span>
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<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;">>>></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><b>Location:</b>
London, England</span></div>
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<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><b>Festival
/ Venue: </b><span style="font-weight: normal;">Portobello Film
Festival, Westbank</span></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><b>Programme:</b><span style="font-weight: normal;">
Anne Pigalle & Art Films</span></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><b>Film:</b>
<i>Ghost Worlds (Animal Rites)</i> (2019)<br /><b>Dates &
Times:</b> Thurs 12th, 6-10pm<br /><b>Status:</b> World Premier</span><br />
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<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;">>>></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-size: large;"><br /></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><b>Location:</b> Split, Croatia</span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><b>Festival
/ Venue: </b><span style="font-weight: normal;">Kino Klub Split</span></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><b>Programme:</b><span style="font-weight: normal;">
All Female Evening / Powered by Agitate:21C</span></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><b>Film: </b><i>Alphonso's Jaw</i> (2016)<br /><b>Dates &
Times:</b> Fri 20th Sept, starting 7.15pm</span></div>
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-size: large;"><br /></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><b>OCTOBER</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-size: large;"><br /></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><b>Location:</b>
Sweden</span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><b>Festival
/ Venue: </b><span style="font-weight: normal;">Västerås Film
Festival</span></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><b>Programme:</b><span style="font-weight: normal;">
1-Min </span></span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><b>Film:
</b><i><span style="font-weight: normal;">Boy and the Sea</span></i><span style="font-weight: normal;">
(60 secs, 2019)</span><b><br />Dates & Times:</b><span style="font-weight: normal;">
Sat 12th October, starting 4.30pm</span></span><br />
<br />
<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;">>>></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-size: large;"><br /></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><b>Location:</b>
USA</span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><b>Festival
/ Venue: </b><span style="font-weight: normal;"> Connect: International Videoarts Festival, University of
Tampa, Florida</span></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><b>Programme: </b><span style="font-weight: normal;">Film, Animation and New Media department</span></span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><b>Film:</b><span style="font-weight: normal;">
</span><i><span style="font-weight: normal;">Atrocity</span></i><span style="font-weight: normal;">
(2014)</span><b><br />Dates & Times:</b><span style="font-weight: normal;">
23rd October, 6-9pm</span></span><br />
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><b>NOVEMBER</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-size: large;"><br /></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><b>Location:</b> Brazil</span><br />
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><b>Festival
/ Venue: </b><span style="font-weight: normal;">International Panorama: Pinacoteca Ruben Berta Museum, Porto Alegre, Brazil</span></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><b>Programme: </b></span><span style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><span style="font-weight: normal;">Videoart and Experimental Cinema volume 2 </span></span>
</div>
<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><b>Film:</b><span style="font-weight: normal;"> <i>Boy and the Sea</i> (2019) </span><b><br />Dates & Times:</b><span style="font-weight: normal;"> 7th November, 7pm.</span></span><br />
<br />
<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;">>>></span><br />
<br />
<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><b>Location:</b>
Edinburgh </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><b>Festival
/ Venue: </b><span style="font-weight: normal;"> Edinburgh Short
Film Festival, Summerhall</span></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><b>Programme: </b><span style="font-weight: normal;">Conventionality Isn't Me</span></span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><b>Film:</b><span style="font-weight: normal;">
</span><i><span style="font-weight: normal;">Boy and the Sea</span></i><span style="font-weight: normal;">
(2019)</span><b><br />Dates & Times:</b><span style="font-weight: normal;"> 9th Nov, 7.30pm </span></span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-size: large;"><br /></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;">>>></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-size: large;"><br /></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><b>Location:</b>
Australia</span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><b>Festival
/ Venue: </b><span style="font-weight: normal;"> North Bellarine
Film Festival</span></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><b>Programme:
</b><span style="font-weight: normal;">Film & Video Art /
Blast From The Past </span></span>
</div>
<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><b>Film:</b><span style="font-weight: normal;">
</span><i><span style="font-weight: normal;">Ghost Worlds</span></i><span style="font-weight: normal;">
(10 mins, 2019) / </span><i><span style="font-weight: normal;">Superfly
Super 8 circa 1977</span></i><span style="font-weight: normal;">
(2016)</span><b><br />Dates & Times:</b><span style="font-weight: normal;">
Festival runs 15th to 17th November</span></span><br />
<br />
<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;">>>></span><br />
<div class="western" style="margin-bottom: 0cm;">
<span style="font-size: large;"><br /></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><b>Location:</b> Italy</span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><b>Festival
/ Venue: </b><span style="font-weight: normal;"> In Absentia Digital Pavilion, Cineporto di Foggia - Apulia Film Commission</span></span><span style="background-color: white; color: #1c1e21; display: inline; float: none; font-family: , , , ".sfnstext-regular" , sans-serif; font-size: 14px; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><b>Programme: </b></span><span style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><span style="font-weight: normal;">Connect: International Videoarts Festival / Semiosphera / The Wrong</span></span>
</div>
<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><b>Film:</b><span style="font-weight: normal;">
</span><i><span style="font-weight: normal;">Atrocity</span></i><span style="font-weight: normal;">
(2014)</span><b><br />Dates & Times:</b><span style="font-weight: normal;"> 22nd November </span></span><br />
<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><span style="font-weight: normal;"><br /></span></span>
<br />
<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;">>>></span><br />
<div class="western" style="margin-bottom: 0cm;">
<span style="font-size: large;"><br /></span></div>
<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><b>Location:</b> Brazil</span><br />
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><b>Festival
/ Venue: </b><span style="font-weight: normal;">International Panorama: <span style="background-color: white; color: #1c1e21; display: inline; float: none; font-style: normal; font-weight: 400; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">O Sítio - Arte e Tecnologia, Florianopolis</span> </span></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><b>Programme: </b></span><span style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><span style="font-weight: normal;">Videoart and Experimental Cinema volume 2 </span></span>
</div>
<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><b>Film:</b><span style="font-weight: normal;"> <i>Boy and the Sea</i> (2019) </span><b><br />Dates & Times:</b><span style="font-weight: normal;"> 26th November.</span></span><br />
<br />
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><b><br />DECEMBER</b></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-size: large;"><br /></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><b>Location:</b>
Edinburgh </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><b>Festival
/ Venue: </b><span style="font-weight: normal;">Open: SSA + VAS at the RSA (Royal Scottish Academy)</span></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><b>Programme: </b><span style="font-weight: normal;">CutLog - Artists Moving Image</span></span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><b>Film:</b><span style="font-weight: normal;">
</span><i><span style="font-weight: normal;">Boy and the Sea</span></i><span style="font-weight: normal;">
(2019)</span><b><br />Dates & Times:</b></span><span style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><span style="font-weight: normal;"> Exhibition runs 22nd December to 30th January 2020</span></span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-size: large;"><br /></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;">>>></span><br />
<br />
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><b>Location:</b> Croatia </span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><b>Festival
/ Venue: </b><span style="font-weight: normal;">Kino Klub Split</span></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><b>Programme: </b><span style="font-weight: normal;">Short(s) Petting - Powered by Agitate:21C Web Oriented Group</span></span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><b>Film:</b><span style="font-weight: normal;"> </span><i><span style="font-weight: normal;">Anna of my Seventy-Two Senses</span></i><span style="font-weight: normal;">
(2017)</span><b><br />Dates & Times:</b></span><span style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><span style="font-weight: normal;"> Exhibition runs 27th December</span></span>
</div>
</div>
<br />
<br />
<br />Athene Noctuahttp://www.blogger.com/profile/15138777467179453959noreply@blogger.com0tag:blogger.com,1999:blog-2808512155163057333.post-64560952956106182752019-09-04T17:00:00.000-07:002019-10-02T01:12:57.904-07:00AVANT KINEMA International Screenings / 10 Year Anniversary / New Biography / Free Downloads<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0NfPAkTuwMlR0s1YR-Cf0fV8qhNPFXsEnSRsZNT6H2hmDea2JohdWQr99s3M5jiG81Qgvu6KXw-kiraqWJGwHJeAAfmHE1f6gGQ3Bd7Vs8AUhUP6vDYIlE07TixVXye3X2tuio5AvP_K5/s1600/BirdMonkey-Ringlets-Specks3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="970" data-original-width="970" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0NfPAkTuwMlR0s1YR-Cf0fV8qhNPFXsEnSRsZNT6H2hmDea2JohdWQr99s3M5jiG81Qgvu6KXw-kiraqWJGwHJeAAfmHE1f6gGQ3Bd7Vs8AUhUP6vDYIlE07TixVXye3X2tuio5AvP_K5/s640/BirdMonkey-Ringlets-Specks3.jpg" width="640" /></a></div>
<div style="text-align: center;">
<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><u><b> <span id="goog_168382443"></span><span id="goog_168382444"></span> </b></u></span></div>
<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><u><b>AVANT
KINEMA PRESS RELEASE: Avant Reekie, Parallel Portobellos +
International Screenings</b></u></span><br />
<div class="western" style="margin-bottom: 0cm;">
<span style="font-size: large;"><br /></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;">2019
is the tenth anniversary year of Borders based duo Sarahjane Swan and
Roger Simian's "creative collaboration across multiple
art-forms". Known initially for their Indie songs and
accompanying "low cost, high concept DIY music videos",
under the name The Bird And The Monkey, Swan and Simian began making
short no budget experimental films and fully immersive video art
installations in 2012. The pair recently rebranded themselves as
Avant Kinema to reflect this broadening of their artistic practice
into cinematic, artistic and literary realms.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-size: large;"><br /></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;">The
first half of this year was mostly spent returning to music: Bird
Monkey's haunting collaboration with Prague based English bluesman,
Justin Lavash; the free download re-release of 2015 mini-album, <i>Moon
Moth</i>, and the limited edition CD release of the <i>Ghost Worlds
(Animal Rites)</i> soundtrack LP - Avant Kinema's collaboration with
hand-pan player, Undertoad. An e.p. of tracks taken from this is
still free to download courtesy of Sparks From The Mothership.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-size: large;"><br /></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;">2019,
part two, is all about the films for Swan and Simian. They already
have forthcoming screenings lined up as far and wide as London,
Sweden, Croatia, Australia, the USA, Brazil and closer-to-home, in the Scottish
capital.</span><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6buYJAdOAJrvjJNtwhBX0gHGBeH1wpg0ra8cVLim5OZl-SG1u6w6usiq0xz7pMFrT1xdL_vJOMLWtyftKef1fuC0DwKB3s-U-a0BCbd0C9y67CDQoZs7w4mWNsF5pv6ADhtJrl8to5zw3/s1600/EIFF-Screen+Shot.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="724" data-original-width="1600" height="288" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6buYJAdOAJrvjJNtwhBX0gHGBeH1wpg0ra8cVLim5OZl-SG1u6w6usiq0xz7pMFrT1xdL_vJOMLWtyftKef1fuC0DwKB3s-U-a0BCbd0C9y67CDQoZs7w4mWNsF5pv6ADhtJrl8to5zw3/s640/EIFF-Screen+Shot.png" width="640" /></a></div>
<div style="text-align: center;">
<br /></div>
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-size: large;"><br /></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;">"Yes,
I guess we'll mostly remember 2019 as our Edinburgh year," says
Sarahjane Swan. "Back in June we had one of our hand-processed
Super 8 films included in the EIFF Walk With Us project. Basically,
what that involved was the screening of a collaboratively made film
at the Filmhouse on the closing day of the Edinburgh Film Festival."</span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-size: large;"><br /></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;">Roger
Simian, interjects: "The editor for the project had stitched
together work by 14 filmmakers from throughout Scotland into a kind of
cinematic patchwork quilt. Each segment was quite different - I think
ours was the only one shot on analogue film - but it all joined
seamlessly together to make a unified whole because of the great
editing and the shared theme: Walk With Us."</span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-size: large;"><br /></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;">"It
was very exciting," beams Sarahjane. "We'd previously
attended a screening at the Filmhouse as part of the festival when we
were shortlisted for the EIFF Short Film Challenge in 2016. Of course
that was splendid, but this time they awarded us with our first ever
gongs and really gave us the red carpet treatment."</span><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKRsi9v90kISNge6M5enNHa05dCcXaXepk5EolqR4vSbyMDIQKlvQbYRSZ8yvbDocuYAJWg-23noUcdSuiErfdzEbtbi1AMIk5mV0qJl3qQ9H8ayhbkAEZQ7iQ30VutfLcUowiLTC_MRQM/s1600/EIFF-Walkers-01.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="960" data-original-width="720" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKRsi9v90kISNge6M5enNHa05dCcXaXepk5EolqR4vSbyMDIQKlvQbYRSZ8yvbDocuYAJWg-23noUcdSuiErfdzEbtbi1AMIk5mV0qJl3qQ9H8ayhbkAEZQ7iQ30VutfLcUowiLTC_MRQM/s640/EIFF-Walkers-01.jpg" width="480" /></a></div>
<div style="text-align: center;">
<br /></div>
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;">"Johnny
Walker was the sponsor of the event," explains Roger, "and
so we were both handed a golden statuette of the Walking Man in the
Top-Hat and a personalized bottle of Walkers' Black Label whisky."</span><br />
<br />
<div style="text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6wbNzoRMWNgjreRhOTXesXMMSltLIHfX3LmWSorh3k8VL7I37tJzzrZpC9XGIZ7VhaYaHZVPZgCBwjtypKFBkd61wXG_1AsUC5Trwtap6e2vaY_RBVuUSEY9AqzwNUmBWEPq8qh0k3vCa/s1600/EIFF-tickets.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1600" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6wbNzoRMWNgjreRhOTXesXMMSltLIHfX3LmWSorh3k8VL7I37tJzzrZpC9XGIZ7VhaYaHZVPZgCBwjtypKFBkd61wXG_1AsUC5Trwtap6e2vaY_RBVuUSEY9AqzwNUmBWEPq8qh0k3vCa/s400/EIFF-tickets.jpg" width="400" /></a><span style="font-family: "trebuchet ms" , sans-serif; font-size: large;"> </span></div>
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-size: large;"><br /></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;">Perks
of being picked for EIFF's short-form strand also included: attending
the red carpet premier of <i>Mrs Lowry & Son</i> at the lavish Festival
Theatre, concerning the tumultuous relationship between the artist
L.S. Lowry (Timothy Spall) and his bed-ridden mother (Vanessa
Redgrave); plus an invitation to the Festival's Closing Gala Party in
the plush surroundings of the Playfair Library Hall.</span><br />
<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMZrwnMPUo4nzRLqgoMfGwK2Nu5uNojSlO5Gosbqp6DCNfuoAcAV-3d9l8GDE3TJdzWM25WjS8ygCCEoSZROe2ynIFhF94B97P8Nt-GUwxODKzySINgQctSJDdtVMrpvM2tA0z0FUH5wTq/s1600/Library-03.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="960" data-original-width="720" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMZrwnMPUo4nzRLqgoMfGwK2Nu5uNojSlO5Gosbqp6DCNfuoAcAV-3d9l8GDE3TJdzWM25WjS8ygCCEoSZROe2ynIFhF94B97P8Nt-GUwxODKzySINgQctSJDdtVMrpvM2tA0z0FUH5wTq/s400/Library-03.jpg" width="300" /></a></div>
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<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;">Swan
and Simian also recently received notification that their latest
short film, <i>Boy and the Sea</i> – shot in Ayr on long-expired
Super 8 film and processed using household ingredients (Caffenol) – is to be
projected silently along Edinburgh's Portobello Promenade this month
as part of the Art Walk Porty Festival. The same film will later
screen, with the addition of full sound, at Summerhall, as part of Edinburgh Short Film
Festival, in November.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiktnWqqSpYWkXapVX0mkDODcpnD8U85ZEBciTtnjUbfXi8aM9MjeAhZ1A_XZfceoIzH01qpfRnG-zONAaKhTNo6lTeBYaiUnfMm3skNAJcTEBxkMkvY8SKVQa72X7axMWP7zASQPegrx7i/s1600/Boy+and+the+Sea+New.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1079" data-original-width="1439" height="478" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiktnWqqSpYWkXapVX0mkDODcpnD8U85ZEBciTtnjUbfXi8aM9MjeAhZ1A_XZfceoIzH01qpfRnG-zONAaKhTNo6lTeBYaiUnfMm3skNAJcTEBxkMkvY8SKVQa72X7axMWP7zASQPegrx7i/s640/Boy+and+the+Sea+New.jpg" width="640" /></a></div>
<div style="text-align: center;">
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<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;">"It's
fantastic to have landed EIFF, Art Walk Porty and the Edinburgh Short
Film Festival all in the same year," says Roger Simian, "and
because we were enrolled on Playwrights' Studio Scotland's Borders
Playwriting scheme last year, in order to adapt our 2014
installation, <i>Orphine</i>, into a 45 minute stage-play, we ended
up also getting free tickets to a National Theatre of Scotland play,
<i>Red Dust Road</i>, at the Lyceum during this year's Fringe. So
this really does feel like the year we broke in Edinburgh."</span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-size: large;"><br /></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;">"That's
not to diminish the importance of the other great festivals and
programmes around the world who have picked up our films this year,"
Sarahjane points out. "Our first ever film, <i>In The Dark I
Sat</i>, just had its first ever public screening since 2012 in
Glasgow at a launch party put on by the experimental lit publisher,
Hedera Felix.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrCx9LvhGkvC7GFVWJbby6-zc6t9Z_qkjLNM3wXT44bST8M-QUO1dW6zfxHmqNyAL4yU58aC4XwgaCZV7geGMxGES-wzjJ7zTY-Dl529nMxJxgcoE32kbHhwg0Q87Fj0iXQWeX1B8TBG4Y/s1600/HederaFelix.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="1600" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrCx9LvhGkvC7GFVWJbby6-zc6t9Z_qkjLNM3wXT44bST8M-QUO1dW6zfxHmqNyAL4yU58aC4XwgaCZV7geGMxGES-wzjJ7zTY-Dl529nMxJxgcoE32kbHhwg0Q87Fj0iXQWeX1B8TBG4Y/s640/HederaFelix.jpg" width="640" /></a></div>
<div style="text-align: center;">
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</div>
<div class="western" style="margin-bottom: 0cm;">
<div style="text-align: center;">
<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><a href="https://www.hederafelix.com/" target="_blank">Visit Hedera Felix</a> </span></div>
<br />
<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;">We
also have screenings coming up over the next few months in Sweden
(Västerås Film Festival), Croatia (Kino Klub Split), Florida (</span><span style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><span style="font-weight: normal;">Connect: International Videoarts Festival</span></span>), Seattle (Semi-Finalist at Engauge Experimental Film Festival),
</span><span style="font-family: "trebuchet ms" , sans-serif; font-size: large;">Australia (North Bellarine Film Festival), </span><span style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif; font-size: large;">Brazil (</span><span style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><span class="_5yl5">International Panorama: Videoart and Experimental Cinema</span>) </span> and hopefully also a
festival in Athens, which we plan on visiting."</span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-size: large;"><br /></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;">"And,
of course, this month we have the impending premieres at parallel
Portobellos," Roger says cryptically.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-size: large;"><br /></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;">"That's
right," Sarahjane explains. "We're going to be represented
at opposite ends of the UK, pretty much simultaneously. On one of the
days that <i>Boy and the Sea</i> has its Art Walk Porty screening in
Portobello, Edinburgh, the Portobello Film Festival in West London will be giving
our 25 minute film, <i>Ghost Worlds (Animal Rites)</i>, its World
Premier."</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3GOJhk7q7S3TxO9fXGTVjaYb3UDxDBYsveQrObaaqHvP7fz3Skq0PncgYztC5Aj9CpJWZmQcWGM4TZFapd8kF7cTRiouJFNK7T6gQGhuqqCLnagpE_HJ2xVIF12s2d7Qlq70g2dgNiArr/s1600/Portobello-2019-Hendrix.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="600" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3GOJhk7q7S3TxO9fXGTVjaYb3UDxDBYsveQrObaaqHvP7fz3Skq0PncgYztC5Aj9CpJWZmQcWGM4TZFapd8kF7cTRiouJFNK7T6gQGhuqqCLnagpE_HJ2xVIF12s2d7Qlq70g2dgNiArr/s400/Portobello-2019-Hendrix.jpg" width="400" /></a></div>
<div style="text-align: center;">
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<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;">London’s
Portobello Film Festival - run by the tireless, Jonathan Barnett -
has been one of the most important platforms for the films of
Sarahjane Swan and Roger Simian through the years. This is an
international festival, but with an identity firmly rooted in the
local community of West London. Ever since its beginnings in 1996, its amazing ethos
has always been that it's free to enter films and free to attend all
screenings.</span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-size: large;"><br /></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;">"This
will be our sixth screening at the Portobello Film Festival in seven
years," says Roger. "Hell, five of those were premieres,
including our first film, <i>In The Dark I Sat</i>, in 2012."</span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-size: large;"><br /></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;">"We
were lucky enough to make it down to London for Portobello a couple
of years ago, when our film, Merzfrau, screened," says
Sarahjane, "and it was an amazing experience, which we shared
with friends and family. We even got to meet Jonathan Barnett in
person, which was great.</span><br />
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<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhl6YffYqeNFLurFSR66OGuXy6Uuzd5Yg9BnULRvz8KHGLh4UR5DHIFSvZrEjYlMItWAqJzjtS2P6Y6pjWzWKHrPRcZrGpqISGnCo-sjnvTOTZ53lkJ-FKX7Gxqi65cKCIDWzC4WNKfZGfD/s1600/Floors-03b.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1600" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhl6YffYqeNFLurFSR66OGuXy6Uuzd5Yg9BnULRvz8KHGLh4UR5DHIFSvZrEjYlMItWAqJzjtS2P6Y6pjWzWKHrPRcZrGpqISGnCo-sjnvTOTZ53lkJ-FKX7Gxqi65cKCIDWzC4WNKfZGfD/s640/Floors-03b.jpg" width="640" /></a><span style="font-size: large;"><span style="font-weight: normal;"> </span></span><span style="color: black; font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;"><u><b><br />TEN
YEARS AFTER: A Biography of Sarahjane Swan & Roger Simian</b></u></span></span></div>
</div>
<div class="western" style="font-style: normal; font-weight: normal; margin-bottom: 0cm;">
<span style="font-size: large;"><br /></span></div>
<div class="western" style="font-style: normal; font-weight: normal; margin-bottom: 0cm;">
<span style="color: black; font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;">Scottish
Borders based experimental duo, Avant Kinema - aka Sarahjane Swan and
Roger Simian - have spent the decade since meeting in 2009
collaborating on interdisciplinary works spanning films, music,
writing, photography, installation art and expanded cinema. </span></span><br />
<br />
<div style="text-align: center;">
<span style="color: black; font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;"><iframe allow="autoplay; fullscreen" allowfullscreen="" frameborder="0" height="360" src="https://player.vimeo.com/video/217931851" width="640"></iframe>
</span></span>
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<div class="western" style="margin-bottom: 0cm;">
<span style="color: black; font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">Swan
and Simian first met ten years ago when Roger inherited the role of
Sarahjane's guitar teacher from his brother, who was travelling to
America for several months. The pair bonded over a shared interest in
Indie Music and the Modernist Avant-Garde Art Movements, such as DADA
and Surrealism.</span></span></span></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-size: large;"><br /></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="color: black; font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">Roger
remembers Sarahjane quizzing him on his art knowledge. "She
asked me which artist had invented Cubism. I said Picasso and she
nodded. Then I said: 'Oh, yeah, and also George Braque,' and</span></span><span style="font-weight: normal;"> then</span></span></span><span style="color: black; font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">
she was impressed."</span></span></span></span>
</div>
<div class="western" style="font-style: normal; font-weight: normal; margin-bottom: 0cm;">
<span style="font-size: large;"><br /></span></div>
<div class="western" style="font-style: normal; font-weight: normal; margin-bottom: 0cm;">
<span style="color: black; font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;">"I
think he was just as impressed that I'd heard of Captain Beefheart
and that I used to get my Mum to tape the John Peel Show for me whenever I went out for the evening,"
says Sarahjane.</span></span></div>
<div class="western" style="font-style: normal; font-weight: normal; margin-bottom: 0cm;">
<span style="font-size: large;"><br /></span></div>
<div class="western" style="font-style: normal; font-weight: normal; margin-bottom: 0cm;">
<span style="color: black; font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;">I'd
never met a woman before who actually liked The Fall and Sonic Youth
and could reel off their song-titles at me," laughs Roger. </span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtmyb4JpLjOhtNUrrgKbQ533qXXrw0cYt2KmB6xmsNikTX4JXpt8gH9GQQ2pmdxKmOtAi69R977Zt9FqA6Gn9UcG015m2vT7wENWNTK6KXtdDJuQ4drM0T6EFthcI8HhyphenhyphenBeg1WKA8Hxqkk/s1600/AvantKinema-Porty.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="540" data-original-width="720" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtmyb4JpLjOhtNUrrgKbQ533qXXrw0cYt2KmB6xmsNikTX4JXpt8gH9GQQ2pmdxKmOtAi69R977Zt9FqA6Gn9UcG015m2vT7wENWNTK6KXtdDJuQ4drM0T6EFthcI8HhyphenhyphenBeg1WKA8Hxqkk/s640/AvantKinema-Porty.jpg" width="640" /></a></div>
<div style="text-align: center;">
<br /></div>
</div>
<div class="western" style="font-style: normal; font-weight: normal; margin-bottom: 0cm;">
<span style="color: black; font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;">
The duo's arthouse credentials were strong from the start. Sarahjane was
a graduate in Fine Art Sculpture from Gray’s School of Art; Roger -
a fanzine editor and indie musician, whose previous bands included
John Peel favourites, Dawn Of The Replicants. They soon began drawing
on these combined influences, working on two Sarahjane Swan solo
singles, with accompanying music videos for Shark Batter Records, the
label run by Roger and his brother, Mike Sorensen. </span></span></div>
<div class="western" style="font-style: normal; font-weight: normal; margin-bottom: 0cm;">
<span style="font-size: large;"><br /></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="color: black; font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">The
pair then embarked on an intensive three year Indie music odyssey,
writing and recording two albums' worth of left-field songs with low
budget, high concept DIY music videos. These were all created under
the name, The Bird And The Monkey. Friend, Paul Kerr, editor of the
MP3 blog, </span></span></span></span></div>
<span style="color: black; font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;"><i><span style="font-weight: normal;">The
Devil Has The Best Tuna</span></i></span></span><span style="color: black; font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">,
suggested this, prompted by the surnames, Swan and Simian. Throughout
the years, Bird Monkey songs have aired frequently on BBC 6 Music
(Tom Robinson), Acacia Radio (Ian Hales), Amazing Radio (Jim
Gellatly) and the track, </span></span></span></span><span style="color: black; font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;"><i><span style="font-weight: normal;">Moon
Moth</span></i></span></span><span style="color: black; font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">,
was used in the soundtrack of BBC2 drama, </span></span></span></span><span style="color: black; font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;"><i><span style="font-weight: normal;">The
Cut</span></i></span></span><span style="color: black; font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">. </span></span></span></span><br />
<br />
<div style="text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGhncO3p38SaSkGch695XU03OPciqD6W5xarkSjD-wYRA2mO9WkOxOzm0mc4CDE6w65BgPkTNMYlfD0EnOfQ_teVyh3p6326WUn9ogyhgRjnuECQGC3ZyTlhGS9GRBE6rv_Qg3EfHdcP3q/s1600/InTheDarkISat.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="500" data-original-width="500" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGhncO3p38SaSkGch695XU03OPciqD6W5xarkSjD-wYRA2mO9WkOxOzm0mc4CDE6w65BgPkTNMYlfD0EnOfQ_teVyh3p6326WUn9ogyhgRjnuECQGC3ZyTlhGS9GRBE6rv_Qg3EfHdcP3q/s400/InTheDarkISat.jpg" width="400" /></a><span style="color: black; font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;"> </span></span></span></span>
</div>
<div class="western" style="font-style: normal; font-weight: normal; margin-bottom: 0cm;">
<span style="font-size: large;"><br /></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="color: black; font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">In
2012, Swan and Simian made their first short film, </span></span></span></span></div>
<span style="color: black; font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;"><i><span style="font-weight: normal;">In
The Dark I Sat</span></i></span></span><span style="color: black; font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">,
which premiered at London's Portobello Film Festival. That same year
the duo were invited by Richard Ashrowan, at the time artistic director of the
Alchemy Film and Moving Image Festival in Hawick, to create a fully
immersive installation for the festival's fringe programme, which
they titled, </span></span></span></span><span style="color: black; font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;"><i><span style="font-weight: normal;">Sung
To The Crows</span></i></span></span><span style="color: black; font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">.
Swan and Simian have since gone on to create four more installations
- </span></span></span></span><span style="color: black; font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;"><i><span style="font-weight: normal;">Orphine</span></i></span></span><span style="color: black; font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">
(2014), </span></span></span></span><span style="color: black; font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;"><i><span style="font-weight: normal;">Things
Fall Apart; The Centre Cannot Hold </span></i></span></span><span style="color: black; font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">(2015),
</span></span></span></span><span style="color: black; font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;"><i><span style="font-weight: normal;">Tibbie
Tamson Unbound</span></i></span></span><span style="color: black; font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">
(2015), and </span></span></span></span><span style="color: black; font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;"><i><span style="font-weight: normal;">Alphonso's
Jaw</span></i></span></span><span style="color: black; font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">
(2016) - all involving multiple video projections, music, words and
sculptural works. The Expanded Cinema Performance, </span></span></span></span><span style="color: black; font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;"><i><span style="font-weight: normal;">Ghost
Worlds (Animal Rites)</span></i></span></span><span style="color: black; font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">,
followed in 2018 as part of Alchemy Film & Arts' </span></span></span></span><span style="color: black; font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;"><i><span style="font-weight: normal;">Celebrate
Super 8</span></i></span></span><span style="color: black; font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">
event in Hawick. The support of Richard Ashrowan and the Alchemy Festival have been extremely important in Swan and Simian's development. This relationship has extended into the duo running local community workshops for Alchemy Film & Arts on Super 8 Filmmaking and Creating Installations.</span></span></span></span><br />
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0xraO0VaMUQNMXW0JeRBF7jFQ7gIw9p3os0byA_EECvpnmR_JetMaZ9_vHtpwComljic8Mkb8tHULh1culYQdVUkvbGwO-9cp1szgUw9Fb2Oie1iRxDdCTP09qwDLzORfzlkcEyF92KGp/s1600/BirdMonkey-Ghost-Puffer2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="715" data-original-width="715" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0xraO0VaMUQNMXW0JeRBF7jFQ7gIw9p3os0byA_EECvpnmR_JetMaZ9_vHtpwComljic8Mkb8tHULh1culYQdVUkvbGwO-9cp1szgUw9Fb2Oie1iRxDdCTP09qwDLzORfzlkcEyF92KGp/s640/BirdMonkey-Ghost-Puffer2.jpg" width="640" /></a></div>
<div style="text-align: center;">
<span style="color: black; font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;"> </span></span></span></span>
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<div class="western" style="margin-bottom: 0cm;">
<span style="color: black; font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">Avant
Kinema's films have screened throughout the UK and Europe as well as
on US cable access show,</span></span><i><span style="font-weight: normal;"> Here
Comes Everybody, </span></i><span style="font-weight: normal;">and across the Toronto Subway System</span></span></span><span style="color: black; font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">.
They were shortlisted for the EIFF Short Film Challenge in 2016 and
returned to the Edinburgh International Film Festival this year as
part of the </span></span></span></span><span style="color: black; font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;"><i><span style="font-weight: normal;">Walk
With Us</span></i></span></span><span style="color: black; font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">
programme.</span></span></span></span>
</div>
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<span style="font-size: large;"><br /></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="color: black; font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">In
2018 Swan and Simian enrolled in Playwrights' Studio Scotland's
Borders Playwriting Programme and completed a full-length script,</span></span><i><span style="font-weight: normal;"> Orphine
and the Underworld</span></i></span></span><span style="color: black; font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">,
based on one of their earlier installations. </span></span></span></span><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9bmFR3xUtk4oMofZEg-ar92OxvdMYX-LCZvZ0honb95twTPeqZKp8avX7GJYxrL3IXBAkzOTy2REoPd07qsUG-RIVPDDxvxfSvfe5NSMvHby8Qvu86ibLZiJW_wR4QTnSlnx_9bjLwZ7j/s1600/logo-SFTM-Blogger.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="400" data-original-width="880" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9bmFR3xUtk4oMofZEg-ar92OxvdMYX-LCZvZ0honb95twTPeqZKp8avX7GJYxrL3IXBAkzOTy2REoPd07qsUG-RIVPDDxvxfSvfe5NSMvHby8Qvu86ibLZiJW_wR4QTnSlnx_9bjLwZ7j/s400/logo-SFTM-Blogger.jpg" width="400" /></a></div>
<div style="text-align: center;">
<span style="color: black; font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;"> </span></span></span></span>
</div>
</div>
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<span style="color: black; font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">Avant
Kinema have taken on the role of curators for the Scottish Borders
based arts organization, Sparks From The Mothership, whose primary
aim is "to promote Popular Experimentalism throughout the Arts
and Culture". Throughout 2019, SFTM has put out monthly free
download releases by several alternative acts associated with the
Borders Underground Scene, including material by The Bird And The
Monkey (both retrospective and new) and an e.p. of music taken from
Avant Kinema's</span></span><i><span style="font-weight: normal;"> Ghost
Worlds</span></i></span></span><span style="color: black; font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">
soundtrack collaboration with hand-pan player, Undertoad. </span></span></span></span></div>
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</div>
<div class="western" style="margin-bottom: 0cm;">
<div style="text-align: center;">
<a href="https://www.youtube.com/channel/UCqHfx37Prc8t7QJwnHI2qjg" target="_blank"><span style="color: black; font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">Sparks From The Mothership YouTube</span></span></span></span></a></div>
<div style="text-align: center;">
<span style="color: black; font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;"> <a href="https://www.facebook.com/groups/avantkinema/" target="_blank">SFTM FaceBook Group</a><br /><a href="https://sparksfromthemothership.bandcamp.com/" target="_blank">Sparks From The Mothership BandCamp</a></span></span></span></span></div>
<br />
<span style="color: black; font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;"></span></span></span></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="color: black; font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;"></span></span></span></span><br />
<div class="separator" style="clear: both; text-align: center;">
</div>
<div style="text-align: center;">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbNe7L4UO2FIzoGNHYR5dBwX7iSuRCog-dK9A217qqD-0oyKLCPxT04WKfUaCt-qsrG-obV3aAOmPCR4yRu0o6jwvbU8Til1m0-Je0r8RiCLD3-U2U-48hZgrXjTnShx5gEoqlgeTmR1D7/s1600/A21c-Banner-01.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1600" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbNe7L4UO2FIzoGNHYR5dBwX7iSuRCog-dK9A217qqD-0oyKLCPxT04WKfUaCt-qsrG-obV3aAOmPCR4yRu0o6jwvbU8Til1m0-Je0r8RiCLD3-U2U-48hZgrXjTnShx5gEoqlgeTmR1D7/s400/A21c-Banner-01.jpg" width="400" /></a></div>
<span style="color: black; font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;"> </span></span></span></span>
</div>
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><span style="color: black;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">Avant
Kinema are also amongst the founding members of a brand new
international arts group AGITATE:21C, whose playful acronym stands
for:<i> </i></span></span></span></span></span><span style="font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="color: black;"><span style="font-family: "trebuchet ms" , sans-serif;"><i><span style="font-weight: normal;">Avant-Garde
International Team At The Epicentre of the 21st Century</span></i><span style="font-style: normal;"><span style="font-weight: normal;">.
Swan and Simian proposed this monicker prior to a public vote by
members of the collective's FaceBook Group. They have since taken on
the role of setting up A:21C's "Scottish chapter", as well
as creating the movement's first video ident.</span></span></span></span></span></span><br />
<br />
<div style="text-align: center;">
<span style="font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="color: black;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;"><iframe allow="autoplay; fullscreen" allowfullscreen="" frameborder="0" height="360" src="https://player.vimeo.com/video/350604726" width="640"></iframe>
</span></span></span></span></span></span>
<br />
<span style="font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;"><a href="https://www.facebook.com/groups/2964836420208278/" target="_blank">AGITATE:21C FaceBook Group</a><br /><a href="https://agitate21c.blogspot.com/" target="_blank">AGITATE:21C Blog</a></span></span><span style="font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;"> </span></span><br />
<span style="font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;"><a href="https://www.facebook.com/groups/Agitate21cScotland/?ref=group_header" target="_blank">AGITATE:21C Scotland Group</a></span></span></div>
<br />
<div style="text-align: center;">
</div>
</div>
<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><span style="color: black;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">"The past ten years have been a mindblowing whirlwind of creativity and exploration," says Sarahjane Swan, "and we really feel like we're moving towards something big. </span></span></span></span></span><span style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><span style="color: black;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="color: black;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">Maybe the stars are finally in alignment and the time is right for us to start creating our masterpieces.</span></span></span></span></span></span>"</span></span></span></span><br />
<span style="font-size: large;"><br /></span>
<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><span style="color: black;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">Roger Simian joins in with the enthusiastic conjecture. "We want to be at the forefront of creating 21st Century artworks that are interdisciplinary, combining all the artforms - the music, the visuals, the words - works that are looking more towards the future than towards the past. It's time to put our best foot forward."</span></span></span></span></span><br />
<span style="font-size: large;"><br /></span>
<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><span style="color: black;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;">Watch this space...</span></span></span></span></span><br />
<br />
<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><span style="color: black;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;"><span style="color: black; font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;"><u><b>FREE DOWNLOAD RELEASES: The Bird and The Monkey /<br />Sarahjane Swan / Roger Simian / Avant Kinema with Undertoad</b></u></span></span></span></span></span></span></span><br />
<br />
<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><span style="color: black;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;"><span style="color: black; font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;">Throughout September 2019, Sparks From The Mothership, are releasing a collection of free download releases made up of demos and rarities by The Bird And The Monkey, Sarahjane Swan and Roger Simian. Last month's free download, an e.p. of tracks from Avant Kinema's soundtrack collaboration with hand-pan player, Undertoad, are also still available to download.</span></span></span></span></span></span></span><br />
<br />
<div style="text-align: center;">
<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><span style="color: black;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;"><span style="color: black; font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;"><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=1799655284/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/transparent=true/" style="border: 0; height: 470px; width: 350px;"><a href="http://sparksfromthemothership.bandcamp.com/album/half-the-point-e-p">Half The Point e.p. by The Bird And The Monkey</a></iframe>
</span></span></span></span></span></span></span>
<br />
<br />
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=3795176233/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/transparent=true/" style="border: 0; height: 470px; width: 350px;"><a href="http://sparksfromthemothership.bandcamp.com/album/low-to-medium-fidelity-demonstration-recordings-2">Low to Medium Fidelity Demonstration Recordings by Sarahjane Swan</a></iframe><span style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><span style="color: black;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;"><span style="color: black; font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span></span></span></span></span></span>
<br />
<br />
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=2087111359/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/transparent=true/" style="border: 0; height: 470px; width: 350px;"><a href="http://sparksfromthemothership.bandcamp.com/album/low-to-medium-fidelity-demonstration-recordings">Low to Medium Fidelity Demonstration Recordings by Roger Simian</a></iframe><span style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><span style="color: black;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;"><span style="color: black; font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;">
</span></span></span></span></span></span></span>
<br />
<br />
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=1423950871/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/transparent=true/" style="border: 0; height: 470px; width: 350px;"><a href="http://sparksfromthemothership.bandcamp.com/album/the-ghost-worlds-ep">The Ghost Worlds EP by Avant Kinema / Undertoad</a></iframe><span style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><span style="color: black;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;"><span style="color: black; font-size: large;"><span style="font-family: "trebuchet ms" , sans-serif;">
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<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><span style="color: black;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-style: normal;"><span style="font-weight: normal;"> </span></span></span></span></span><span style="font-size: large;">
</span>
<style type="text/css">P { margin-bottom: 0.21cm; }</style>Athene Noctuahttp://www.blogger.com/profile/15138777467179453959noreply@blogger.com0tag:blogger.com,1999:blog-2808512155163057333.post-69739307569613384332019-04-16T01:26:00.001-07:002019-04-16T02:13:04.506-07:00SUPERFLY SUPER 8... Film (2016) by Avant Kinema<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicQU5i1PDuFNiHHZ4bb9q0ziF5OQEXFiq-zZ1F-o34si79BGaznRXPpK_6s5OnlieCCkIKuHEeU2XbC8EN-DLEOcjMwkRg4-GUG6BaC2N8yqWuZ-v2_IDW3tBKO4Nvg0istef5wjlbiD7X/s1600/SuperFlyNoirHighRez.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1600" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicQU5i1PDuFNiHHZ4bb9q0ziF5OQEXFiq-zZ1F-o34si79BGaznRXPpK_6s5OnlieCCkIKuHEeU2XbC8EN-DLEOcjMwkRg4-GUG6BaC2N8yqWuZ-v2_IDW3tBKO4Nvg0istef5wjlbiD7X/s640/SuperFlyNoirHighRez.jpg" width="640" /></a></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<b>**Shortlisted for the EIFF Short Film Challenge 2016 with a World
Premier screening at The Filmhouse, Edinburgh, 6th Aug 2016.** </b></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<b> **Two further screenings that same month at Edinburgh Digital
Entertainment Festival.** </b></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<b>**English Premiere at LSFF (London Short Film Festival) in January 2017
at the Moth Club in Hackney. (We attended this screening with
the assistance of a Creative Scotland grant.) ** </b></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<b>**European Premiere in Barcelona (17th February 2018) at an
International Super 8 screening event (Mostra de Videoclips Rodats en
Super 8) - part of the Minifestival de Música Independent de
Barcelona.**</b> </div>
<br />
<i>SUPERFLY SUPER 8 circa NINETEEN SEVENTY SEVEN</i> (2016) by Scottish
experimentalists, Sarahjane Swan & Roger Simian (Avant Kinema), was
the duo's first ever delve into Super 8 filmmaking. Shooting on TRI-X
B&W reversal film, using vintage analogue film-cameras, Swan &
Simian set out to create "the Super 8 dream of a classic Film Noir as if
made by New York No Wavers".<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhej3Fxbs6L2tuF4NW-hDe3rTgj3A1LtXqwl8fWgPPfC6X6qIVhjn4h854vBpLUNG5D_Cry62tBr9ddZXR59aXfcOL9qYdWdoOPRogMgidLV_IhXHD79Octj_Vnzc9_WMmSYnteDXJnXtb3/s1600/SuperFly+still4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1600" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhej3Fxbs6L2tuF4NW-hDe3rTgj3A1LtXqwl8fWgPPfC6X6qIVhjn4h854vBpLUNG5D_Cry62tBr9ddZXR59aXfcOL9qYdWdoOPRogMgidLV_IhXHD79Octj_Vnzc9_WMmSYnteDXJnXtb3/s640/SuperFly+still4.jpg" width="640" /></a></div>
<br />
<div style="text-align: center;">
Directed by
Sarahjane Swan & Roger Simian</div>
<div style="text-align: center;">
<br />
Performer: Sarahjane Swan</div>
<div style="text-align: center;">
<br />
Cinematography & Editing:
Roger Simian & Sarahjane Swan </div>
<div style="text-align: center;">
<br />
Music:
The Bird And The Monkey </div>
<div style="text-align: center;">
</div>
<div style="text-align: center;">
<br />
Duration:
2 minutes 30 seconds </div>
<div style="text-align: center;">
<br />
Cameras:
Canon 514XL & AGFA Family</div>
<div style="text-align: center;">
<br />
Film:
Kodak TRI-X reversal 7266</div>
<div style="text-align: center;">
<br />
Processing & Scan:
Gauge Film</div>
<div style="text-align: center;">
<br />
Film completed:
24 June 2016</div>
<div style="text-align: center;">
<br />
Edited in iMovie </div>
<br />
<center>
<iframe allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/MsASLeb7_Ck" width="560"></iframe></center>
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<br />Athene Noctuahttp://www.blogger.com/profile/15138777467179453959noreply@blogger.com0tag:blogger.com,1999:blog-2808512155163057333.post-92110746318613412862019-04-03T17:59:00.000-07:002019-04-21T17:36:14.133-07:00ALPHONSO'S JAW Installation / Film (2016) <div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgO5wO4FM_Ican8Cedk5SW7fwISf1IjSHxEifcTYmhyELXbZR5jO10D6VptsR01bVGErUp3TU3-9ihYNeA4wjROvK-im9ggwkbYaq76BPHpqKhxCyzjkbkBZt4glHXlfcOCg35WG2TCQNyT/s1600/Alphonso4Portobello-02.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1600" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgO5wO4FM_Ican8Cedk5SW7fwISf1IjSHxEifcTYmhyELXbZR5jO10D6VptsR01bVGErUp3TU3-9ihYNeA4wjROvK-im9ggwkbYaq76BPHpqKhxCyzjkbkBZt4glHXlfcOCg35WG2TCQNyT/s640/Alphonso4Portobello-02.jpg" width="640" /></a></div>
<br />
<div align="LEFT" class="western" style="margin-bottom: 0cm;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">In
2016 we created an immersive, multi-format installation for Alchemy
Film and Moving Image Festival, called <i>Alphonso's Jaw</i>.</span></span><br />
<br />
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">The
installation, and subsequent short film, were inspired by our
facination for two objects we discovered amongst Edinburgh University's
Anatomy Collection: (1) the cast of a disfigured face; (2) a prosthetic jaw constructed on an
early nineteenth century battlefield.</span></span></div>
<div align="LEFT" class="western" style="margin-bottom: 0cm;">
<br /></div>
<div align="LEFT" class="western" style="margin-bottom: 0cm;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">Through
some research we unearthed the story of Alphonse Luis, a young French
gunner struck by shrapnel at the Siege of Antwerp, 1832. Having
suffered horrific facial injuries, losing his lower face, Alphonse's
quality of life was eventually improved when the Surgeon-Major and
a local Belgian artist collaborated on the construction of a silver
prosthetic jaw, painted in flesh tones and adorned with whiskers. </span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2BTwWMwuFBiQPIybJpCKf4Qbzp6gMvH4yMffPxXMMGrMIT7tLGS3rKaAORb0IF7Y_WhJ3A0bOK5SR3VefFFLftEuDoeX_D6YNY3JMQWBiFJcVuegbjsRMyeUs4WsCiPwJp58Z_yp-JPJ9/s1600/AlfonsosJawPoster.tiff" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1188" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2BTwWMwuFBiQPIybJpCKf4Qbzp6gMvH4yMffPxXMMGrMIT7tLGS3rKaAORb0IF7Y_WhJ3A0bOK5SR3VefFFLftEuDoeX_D6YNY3JMQWBiFJcVuegbjsRMyeUs4WsCiPwJp58Z_yp-JPJ9/s640/AlfonsosJawPoster.tiff" width="474" /></a><span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;"> </span></span>
</div>
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<br /></div>
<div align="LEFT" class="western" style="margin-bottom: 0cm;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">We
uncovered historical accounts of Alphonse Luis' injury, surgery,
recuperation and rehabilitation in medical journals of the day, and
drew on these for an exploration of identity, disfigurement and
reconstruction<i>. </i></span></span></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3ZIm1Jl88-b86bgKVIsgzRQhfebvaEnlAvZiAbIrAJmcMCr787vO_JtGIynaKsMGIth3TmVw6rkwDO6_JgI88cTcqDcIe6E3p6qGjnu5ey1oEFqeGHuDHL1K55zMbaT46nNOPu3jh92n6/s1600/Alphonso4Portobello-03.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1600" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3ZIm1Jl88-b86bgKVIsgzRQhfebvaEnlAvZiAbIrAJmcMCr787vO_JtGIynaKsMGIth3TmVw6rkwDO6_JgI88cTcqDcIe6E3p6qGjnu5ey1oEFqeGHuDHL1K55zMbaT46nNOPu3jh92n6/s320/Alphonso4Portobello-03.jpg" width="320" /></a></div>
<div class="western" style="margin-bottom: 0cm; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixJDuwTab4F90Yx7DKXJyaszzU8h7ilxMnlRunGqf-b9Drl-GtCFDssRO-x_pN0-bBFtKPaxXmBX4aUKBcxPYvgm-kDdYbgffj8TiovEytqfzwVHN6mUnQzn8aGh-Z-U2S12md0UqqV_oM/s1600/Alphonso4Portobello-04.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1600" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixJDuwTab4F90Yx7DKXJyaszzU8h7ilxMnlRunGqf-b9Drl-GtCFDssRO-x_pN0-bBFtKPaxXmBX4aUKBcxPYvgm-kDdYbgffj8TiovEytqfzwVHN6mUnQzn8aGh-Z-U2S12md0UqqV_oM/s320/Alphonso4Portobello-04.jpg" width="320" /></a> </div>
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<br /></div>
<div align="LEFT" class="western" style="margin-bottom: 0cm;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;"><span style="font-style: normal;">In
</span><i>Alphonso's Jaw</i><span style="font-style: normal;"> we</span>
imagine that Alphonse Luis has become dislocated from history to
exist outside of any specific time or place, trapped in eternal
convalescence, soothed by the dreams of his Battlefield Muse, who is equal
parts Night Nurse, Scheherazade and Beauty from <i>Beauty and the
Beast. </i><span style="font-style: normal;">Luis' Battlefield Muse is, in turn, both horrified and fascinated by her
patient.</span></span></span></div>
<div align="LEFT" class="western" style="margin-bottom: 0cm;">
<br /></div>
<pre class="western" lang="fr-FR" style="font-weight: normal; text-align: left;"><span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;"><span style="font-style: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuNrK6V87lJecyIcV-YrpEdiPgOpsaf2nLeAFFSCWA54tPWwynioG70PpR95anFr6Ytr8x5Uymufa9sfVYsI7nn2lQmvSnuL_UWMnjE9kRI8thXlArnF8UkpYERrXdkcNzr7aJJpGKKPND/s1600/Alphonso4Portobello-01.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1600" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuNrK6V87lJecyIcV-YrpEdiPgOpsaf2nLeAFFSCWA54tPWwynioG70PpR95anFr6Ytr8x5Uymufa9sfVYsI7nn2lQmvSnuL_UWMnjE9kRI8thXlArnF8UkpYERrXdkcNzr7aJJpGKKPND/s640/Alphonso4Portobello-01.jpg" width="640" /></a></span></span></span></pre>
<div align="LEFT" class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm; text-align: center;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;"><span style="font-style: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0sZ5AasEXNxmzw4eA6jJAu2T7QRnebjpLj2yNgv5-MzPaw7OK_3VBh0oZeVD5ORKWxCi4jo3dMbepfIamk196Cgp2aqV554CuFdicnUW03BVwCbsdCqYc-8faihBOnrbyBdxWGDcDe6XC/s1600/04.swan+simian_alphonsos+jaw_2016.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1200" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0sZ5AasEXNxmzw4eA6jJAu2T7QRnebjpLj2yNgv5-MzPaw7OK_3VBh0oZeVD5ORKWxCi4jo3dMbepfIamk196Cgp2aqV554CuFdicnUW03BVwCbsdCqYc-8faihBOnrbyBdxWGDcDe6XC/s400/04.swan+simian_alphonsos+jaw_2016.jpg" width="300" /></a> </span></span></span></div>
<div align="LEFT" class="western" style="margin-bottom: 0cm;">
<br /></div>
<div align="LEFT" class="western" style="margin-bottom: 0cm;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;"><span style="font-style: normal;">As
well as multiple video projections, music and sculptural elements -
which included dislocated white hands thrusting from walls
clutching crimson rose buds; numerous handcrafted prosthetic legs;
and an American army stretcher haunted by WWI shell-shock victims -
our installation included the following poem.</span></span></span></div>
<div align="LEFT" class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm; text-align: center;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;"><span style="font-style: normal;"></span></span></span><br />
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;"><span style="font-style: normal;"></span></span></span><br />
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;"><span style="font-style: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcTXp1OXpalSSt38Q5b5l20RZ2yELzmdEXTniUI7paFwlP91kqrRvWQl_zIh_z8Ow0F0LkIStXUqyyFJGaTlK49zZ6IMbnKIDg4_NyU-tJFrcN0tDat7Dvr2EMba5udJLGhj7Edi8fUjhV/s1600/02.swan+simian_alphonsos+jaw_2016.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1119" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcTXp1OXpalSSt38Q5b5l20RZ2yELzmdEXTniUI7paFwlP91kqrRvWQl_zIh_z8Ow0F0LkIStXUqyyFJGaTlK49zZ6IMbnKIDg4_NyU-tJFrcN0tDat7Dvr2EMba5udJLGhj7Edi8fUjhV/s640/02.swan+simian_alphonsos+jaw_2016.jpg" width="443" /></a> </span></span></span></div>
<div align="LEFT" class="western" style="margin-bottom: 0cm;">
<br /></div>
<div style="text-align: center;">
<b><span style="font-family: "verdana" , sans-serif;"><i>ALPHONSO'S JAW (8 Mins)</i> <br />short film by Avant Kinema
</span></b><br />
<br />
<iframe allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/GCZssOh2zMQ" width="560"></iframe></div>
<pre class="western" style="text-align: left;"><span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;"><span lang="fr-FR"><i><b> </b></i></span></span></span></pre>
<pre class="western" style="text-align: left;"><span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;"><span lang="fr-FR"><i><b>
Beauty and the Silver Mask</b></i></span></span></span>
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;"><span lang="fr-FR"><b>poem by Avant Kinema</b></span></span></span>
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;"><span lang="fr-FR">My name is Beauty.</span></span></span></pre>
<div align="LEFT" class="western" style="font-weight: normal; margin-bottom: 0cm;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">My name is
Scheherazade.</span></span></div>
<div align="LEFT" class="western" style="font-weight: normal; margin-bottom: 0cm;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">I gorge on words,
feverishly</span></span></div>
<div align="LEFT" class="western" style="font-weight: normal; margin-bottom: 0cm;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">in the privacy of my
cell cot.</span></span></div>
<div align="LEFT" class="western" style="font-weight: normal; margin-bottom: 0cm;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">Words nourish my soul.</span></span></div>
<div align="LEFT" class="western" style="font-weight: normal; margin-bottom: 0cm;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">Each twilight I whisper
words of freedom and captivity.</span></span></div>
<div align="LEFT" class="western" style="font-weight: normal; margin-bottom: 0cm;">
<br /></div>
<div align="LEFT" class="western" style="font-weight: normal; margin-bottom: 0cm;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">I am the sadness of
lost women </span></span>
</div>
<div align="LEFT" class="western" style="font-weight: normal; margin-bottom: 0cm;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">and the wild boys</span></span></div>
<div align="LEFT" class="western" style="font-weight: normal; margin-bottom: 0cm;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">who forgot the fluidity
of youth</span></span></div>
<div align="LEFT" class="western" style="font-weight: normal; margin-bottom: 0cm;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">who forgot that skin
and bones</span></span></div>
<div align="LEFT" class="western" style="font-weight: normal; margin-bottom: 0cm;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">will crystalize,</span></span></div>
<div align="LEFT" class="western" style="font-weight: normal; margin-bottom: 0cm;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">shatter into
smithereens</span></span></div>
<div align="LEFT" class="western" style="font-weight: normal; margin-bottom: 0cm;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">like the Citadel of
Antwerp </span></span>
</div>
<div align="LEFT" class="western" style="font-weight: normal; margin-bottom: 0cm;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">under the monster</span></span></div>
<div align="LEFT" class="western" style="font-weight: normal; margin-bottom: 0cm;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">mortar fire of the
ticking clock. </span></span>
</div>
<div align="LEFT" class="western" style="font-weight: normal; margin-bottom: 0cm;">
</div>
<div align="LEFT" class="western" style="font-weight: normal; margin-bottom: 0cm;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">Your name is Beast.</span></span></div>
<div align="LEFT" class="western" style="font-weight: normal; margin-bottom: 0cm;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">My favourite enemy, you
invade</span></span></div>
<div align="LEFT" class="western" style="font-weight: normal; margin-bottom: 0cm;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">my dreams. </span></span>
</div>
<div align="LEFT" class="western" style="font-weight: normal; margin-bottom: 0cm;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">You are the Beast who
imprisons me.</span></span></div>
<div align="LEFT" class="western" style="font-weight: normal; margin-bottom: 0cm;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">The shock of your
devastated jaw holds me captive until morning.</span></span></div>
<div align="LEFT" class="western" style="font-weight: normal; margin-bottom: 0cm;">
</div>
<div align="LEFT" class="western" style="font-weight: normal; margin-bottom: 0cm;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">They have allowed me
one mirror.</span></span></div>
<div align="LEFT" class="western" style="font-weight: normal; margin-bottom: 0cm;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">In its shimmering skin,
I see your face. Broken.</span></span></div>
<div align="LEFT" class="western" style="font-weight: normal; margin-bottom: 0cm;">
<br /></div>
<div align="LEFT" class="western" style="font-weight: normal; margin-bottom: 0cm;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">Your face has
misbehaved.</span></span></div>
<div align="LEFT" class="western" style="font-weight: normal; margin-bottom: 0cm;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">It has smashed its
shell open </span></span>
</div>
<div align="LEFT" class="western" style="font-weight: normal; margin-bottom: 0cm;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">with a spoon.</span></span></div>
<div align="LEFT" class="western" style="font-weight: normal; margin-bottom: 0cm;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">Form has fractured,</span></span></div>
<div align="LEFT" class="western" style="font-weight: normal; margin-bottom: 0cm;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">symmetry ripped in two
pieces. </span></span>
</div>
<div align="LEFT" class="western" style="font-weight: normal; margin-bottom: 0cm;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">Did I smash the glass? </span></span>
</div>
<div align="LEFT" class="western" style="font-weight: normal; margin-bottom: 0cm;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">Did I smash it over and
over?</span></span></div>
<div align="LEFT" class="western" style="font-weight: normal; margin-bottom: 0cm;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">Did I splinter your
face to shards?</span></span></div>
<div align="LEFT" class="western" style="font-weight: normal; margin-bottom: 0cm;">
<br /></div>
<div align="LEFT" class="western" style="font-weight: normal; margin-bottom: 0cm;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">Your tongue is blind.</span></span></div>
<div align="LEFT" class="western" style="font-weight: normal; margin-bottom: 0cm;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">It falls, fat and
undulating, </span></span>
</div>
<div align="LEFT" class="western" style="font-weight: normal; margin-bottom: 0cm;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">from the hungry centre </span></span>
</div>
<div align="LEFT" class="western" style="font-weight: normal; margin-bottom: 0cm;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">of your lost jaw,</span></span></div>
<div align="LEFT" class="western" style="font-weight: normal; margin-bottom: 0cm;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">craving nourishment,</span></span></div>
<div align="LEFT" class="western" style="font-weight: normal; margin-bottom: 0cm;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">searching all of the
black space between stars for meaning.</span></span></div>
<div align="LEFT" class="western" style="font-weight: normal; margin-bottom: 0cm;">
<br /></div>
<div align="LEFT" class="western" style="font-weight: normal; margin-bottom: 0cm;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">I ache to have known
your lips.</span></span></div>
<div align="LEFT" class="western" style="font-weight: normal; margin-bottom: 0cm;">
<br /></div>
<div align="LEFT" class="western" style="font-weight: normal; margin-bottom: 0cm;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">Through the haze of an </span></span>
</div>
<div align="LEFT" class="western" style="font-weight: normal; margin-bottom: 0cm;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">enchanted glass I see
the dark forest, </span></span>
</div>
<div align="LEFT" class="western" style="font-weight: normal; margin-bottom: 0cm;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">your calloused hand
tending to the wild flowers.</span></span></div>
<div align="LEFT" class="western" style="font-weight: normal; margin-bottom: 0cm;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">Your jaw is a ghost.</span></span></div>
<div align="LEFT" class="western" style="font-weight: normal; margin-bottom: 0cm;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">In the negative space </span></span>
</div>
<div align="LEFT" class="western" style="font-weight: normal; margin-bottom: 0cm;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">above your throat</span></span></div>
<div align="LEFT" class="western" style="font-weight: normal; margin-bottom: 0cm;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">I see the trace of your
mouth's memory</span></span></div>
<div align="LEFT" class="western" style="font-weight: normal; margin-bottom: 0cm;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">sucked like smoke into
the Vortex.</span></span></div>
<div align="LEFT" class="western" style="font-weight: normal; margin-bottom: 0cm;">
<br /></div>
<div align="LEFT" class="western" style="font-weight: normal; margin-bottom: 0cm;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">The Void whispers to
me.</span></span></div>
<div align="LEFT" class="western" style="font-weight: normal; margin-bottom: 0cm;">
<br /></div>
<div align="LEFT" class="western" style="font-weight: normal; margin-bottom: 0cm;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">Restless, fidgeting, I
turn </span></span>
</div>
<div align="LEFT" class="western" style="font-weight: normal; margin-bottom: 0cm;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">a pawn shop ring round
my finger, thrice</span></span></div>
<div align="LEFT" class="western" style="font-weight: normal; margin-bottom: 0cm;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">and watch your face
fall apart in silhouette.</span></span></div>
<div align="LEFT" class="western" style="font-weight: normal; margin-bottom: 0cm;">
<br /></div>
<div align="LEFT" class="western" style="font-weight: normal; margin-bottom: 0cm;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">Dragged by my heels </span></span>
</div>
<div align="LEFT" class="western" style="font-weight: normal; margin-bottom: 0cm;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">through the dark
forest,</span></span></div>
<div align="LEFT" class="western" style="font-weight: normal; margin-bottom: 0cm;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">beyond the scratching
branches, </span></span>
</div>
<div align="LEFT" class="western" style="font-weight: normal; margin-bottom: 0cm;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">and twisting roots,</span></span></div>
<div align="LEFT" class="western" style="font-weight: normal; margin-bottom: 0cm;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">mauled by wild talons</span></span></div>
<div align="LEFT" class="western" style="font-weight: normal; margin-bottom: 0cm;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">and the jaws of
monstrous entities,</span></span></div>
<div align="LEFT" class="western" style="font-weight: normal; margin-bottom: 0cm;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">I see the green shimmer
of a clearing,</span></span></div>
<div align="LEFT" class="western" style="font-weight: normal; margin-bottom: 0cm;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">breathe the rose's wild
perfume,</span></span></div>
<div align="LEFT" class="western" style="font-weight: normal; margin-bottom: 0cm;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">witness the spilled
blood of its petals, burgundy against the grass.</span></span></div>
<div align="LEFT" class="western" style="font-weight: normal; margin-bottom: 0cm;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">Your mouth has vanished
into the mist, banished.</span></span></div>
<div align="LEFT" class="western" style="font-weight: normal; margin-bottom: 0cm;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">You have no words.</span></span></div>
<div align="LEFT" class="western" style="font-weight: normal; margin-bottom: 0cm;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">To hear your words I
must first</span></span></div>
<div align="LEFT" class="western" style="font-weight: normal; margin-bottom: 0cm;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">enter your eyes, as
green and deep and tempestuous as the ocean,</span></span></div>
<div align="LEFT" class="western" style="font-weight: normal; margin-bottom: 0cm;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">and become engulfed.</span></span></div>
<div align="LEFT" class="western" style="font-weight: normal; margin-bottom: 0cm;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">I must allow myself to
succumb</span></span></div>
<div align="LEFT" class="western" style="font-weight: normal; margin-bottom: 0cm;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">to the brutal
metamorphosis,</span></span></div>
<div align="LEFT" class="western" style="font-weight: normal; margin-bottom: 0cm;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">to allow myself to
become you,</span></span></div>
<div align="LEFT" class="western" style="font-weight: normal; margin-bottom: 0cm;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">to become my favourite
monster.</span></span></div>
<div align="LEFT" class="western" style="font-weight: normal; margin-bottom: 0cm;">
<br /></div>
<div align="LEFT" class="western" style="font-weight: normal; margin-bottom: 0cm;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">I fix my silver mask in
place.</span></span></div>
<div align="LEFT" class="western" style="font-weight: normal; margin-bottom: 0cm;">
<br /></div>
<div align="LEFT" class="western" style="font-weight: normal; margin-bottom: 0cm;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">I will inhabit your
skin and steal</span></span><span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;"><span style="font-style: normal;"><br />the words from your mouth.
</span></span></span></div>
<pre class="western" lang="fr-FR" style="font-weight: normal; text-align: left;"><span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;"><span style="font-style: normal;"></span></span></span>
</pre>
<div style="text-align: center;">
<pre class="western" lang="fr-FR" style="font-weight: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbV3K27dKsn3THjiZJExM6kOwjGx07NV5LCiV945F9WKX9hT_7S6hZvVyKpqw8WUpWX0Fd8IISJVQs1vT2htzJBjjEGes6tcnSUZQkXe0cOicYiQ0YQHT_v-uzUS_zsvECcZNPfto1lQHG/s1600/03.swan+simian_alphonsos+jaw_2016.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1600" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbV3K27dKsn3THjiZJExM6kOwjGx07NV5LCiV945F9WKX9hT_7S6hZvVyKpqw8WUpWX0Fd8IISJVQs1vT2htzJBjjEGes6tcnSUZQkXe0cOicYiQ0YQHT_v-uzUS_zsvECcZNPfto1lQHG/s400/03.swan+simian_alphonsos+jaw_2016.jpg" width="400" /></a>
</pre>
</div>
<div align="LEFT" class="western" lang="fr-FR" style="margin-bottom: 0cm;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;"><i><b><br /><br />La Belle et le
masque d'argent</b></i></span></span></div>
<pre class="western" lang="fr-FR" style="text-align: left;"><span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;"><b>poem by Avant Kinema</b></span></span>
<i><span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;"><span lang="fr-FR"><b>(translation by Raymond Meyer)</b></span></span></span></i>
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;"><span lang="fr-FR">Je m’appelle La Belle.
Je m’appelle Scheherazade.
Fiévreusement, je me gave de mots </span></span></span>
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;"><span lang="fr-FR">dans l’intimité de mon lit de prison.
Les mots nourrissent mon âme.
A chaque crépuscule je murmure </span></span></span>
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;"><span lang="fr-FR">des mots </span></span><span style="font-size: small;"><span lang="fr-FR"><span style="font-weight: normal;">de la liberté </span></span></span></span>
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;"><span lang="fr-FR">et de la captivité.</span></span></span>
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;"><span lang="fr-FR"><span style="font-style: normal;">Je suis la tristesse des femmes perdues.
Je suis la tristesse des femmes perdues.
Je suis la tristesse des femmes perdues.</span></span></span></span></pre>
<pre class="western" lang="fr-FR" style="text-align: left;"><span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;"><span lang="fr-FR"><span style="font-style: normal;"> </span></span></span></span></pre>
<div style="text-align: center;">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgR6ogOICf_gos0MMeUkTO-m_DDobjxy80u4IO93GGL0Usry5E7OHR-tWcmV3vlj6bhF6TAh5WRuRo0maWSpgGLM2Ymi2IolfCrQSO557cn4Ag4CbmDV6Bs6tlA4ARv17a9Na2NO0BJHL5L/s1600/alchemy2016-Alfonso.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="881" data-original-width="1200" height="292" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgR6ogOICf_gos0MMeUkTO-m_DDobjxy80u4IO93GGL0Usry5E7OHR-tWcmV3vlj6bhF6TAh5WRuRo0maWSpgGLM2Ymi2IolfCrQSO557cn4Ag4CbmDV6Bs6tlA4ARv17a9Na2NO0BJHL5L/s400/alchemy2016-Alfonso.jpg" width="400" /> </a></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuFme-VFIL6UMbYgJHPhByGpS_KYohCvzw24x1iVGY3W-nqFbVhbJfsr87xMagn06LCpu7mWupHTmXLsnjYSMGJRpn3VD_OIfl5pf8oQXF_WtwRMWWezCgLFk_tT3CRPGuLrcwmAZ3sanr/s1600/installation-alphonso2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="941" data-original-width="700" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuFme-VFIL6UMbYgJHPhByGpS_KYohCvzw24x1iVGY3W-nqFbVhbJfsr87xMagn06LCpu7mWupHTmXLsnjYSMGJRpn3VD_OIfl5pf8oQXF_WtwRMWWezCgLFk_tT3CRPGuLrcwmAZ3sanr/s640/installation-alphonso2.jpg" width="473" /></a> </div>
<pre class="western" lang="fr-FR"><span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;"><span lang="fr-FR"><span style="font-style: normal;"> </span></span></span></span></pre>
<pre class="western" lang="fr-FR"><span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;"><span lang="fr-FR"><span style="font-style: normal;"><b><span style="font-family: "verdana" , sans-serif;"><i>ALPHONSO'S JAW </i>
Installation by Avant Kinema</span></b> </span></span></span></span></pre>
</div>
<br />
<center>
<iframe allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="252" src="https://www.youtube.com/embed/t-YR4F5MyxY" width="448"></iframe>
<br />
<br />
<iframe allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="252" src="https://www.youtube.com/embed/UXKVHUXhsD4" width="448"></iframe>
</center>
<br />
<div style="text-align: center;">
<b><span style="font-family: "verdana" , sans-serif;"><span style="font-size: large;">**press preview**<br /><a href="https://www.hawick-news.co.uk/news/old-jaw-inspires-arts-duo-1-4100331" target="_blank"><i>OLD JAW INSPIRES ARTS DUO</i></a><i><br />- Hawick News</i>, 14 April, 2016</span></span></b></div>
<pre class="western" lang="fr-FR" style="text-align: left;"><span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;"><span lang="fr-FR"><span style="font-style: normal;"> </span></span></span></span></pre>
<pre class="western" lang="fr-FR" style="text-align: left;"><span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;"><span lang="fr-FR"><span style="font-style: normal;"> </span></span></span></span></pre>
<pre class="western" lang="fr-FR" style="text-align: left;"><span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;"><span lang="fr-FR"><span style="font-style: normal;"> </span></span></span></span></pre>
<pre class="western" lang="fr-FR" style="text-align: left;"><span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;"><span lang="fr-FR"><span style="font-style: normal;"> </span></span></span></span></pre>
<style type="text/css">P { margin-bottom: 0.21cm; }</style>
Athene Noctuahttp://www.blogger.com/profile/15138777467179453959noreply@blogger.com2tag:blogger.com,1999:blog-2808512155163057333.post-5760142474239491612019-03-15T16:16:00.000-07:002019-04-03T12:43:46.712-07:00AVANT KINEMA / UNDERTOAD - "Ghost Worlds (Animal Rites)" soundtrack album - Indie/Alternative Handpan Collaboration<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<div style="text-align: center;">
<span style="font-family: "verdana" , sans-serif;"><b><i>GHOST WORLDS (ANIMAL RITES)</i> </b></span></div>
<div style="text-align: center;">
<span style="font-family: "verdana" , sans-serif;"><b>by Avant Kinema / Undertoad </b></span></div>
<div style="text-align: center;">
<span style="font-family: "verdana" , sans-serif;">soundtrack album for Avant Kinema's </span></div>
<div style="text-align: center;">
<span style="font-family: "verdana" , sans-serif;">Expanded Cinema Performance of the </span></div>
<div style="text-align: center;">
<span style="font-family: "verdana" , sans-serif;">same name (Alchemy Film and Moving </span></div>
<div style="text-align: center;">
<span style="font-family: "verdana" , sans-serif;">Image Festival, Hawick, 2018)
</span></div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5sj0Q487Qyb8bzVn1huXdlcfg12NKuMKgzhd7tsBmxSVyblEV6FXxrizKVEWQMgruozDjvxWJ-87OZ3w3l8T1ebqyDRNGlqmq55_mzb95SsjMSP66VDJ54Oc_tubXDMSxS4IvHFlNEA4W/s1600/GhostWorlds-SleeveArt.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1400" data-original-width="1400" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5sj0Q487Qyb8bzVn1huXdlcfg12NKuMKgzhd7tsBmxSVyblEV6FXxrizKVEWQMgruozDjvxWJ-87OZ3w3l8T1ebqyDRNGlqmq55_mzb95SsjMSP66VDJ54Oc_tubXDMSxS4IvHFlNEA4W/s640/GhostWorlds-SleeveArt.jpg" width="640" /></a></div>
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<span style="font-size: small;"><span style="font-family: Verdana, sans-serif;">"The epic 24 minute long <i>Ghost Worlds (Animal Rights)</i>, a gorgeous collaboration with Newcastle musician Neil Coles, aka Undertoad... is like listening to pillows of clouds floating over a zen garden while the Cocteau Twins' Liz Frazer gently ululates in the background. The first twenty minutes is so calming it should be available on prescription for stress and anxiety, one listen and you'll be so chilled your friends will think you've swallowed the Little Book of Calm. However as you hit the twenty minute mark everything gets a little more edgy and sinister as Sarahjane's unique vocals come more to the fore finally reaching a crescendo that sounds like they've opened Pandora's box to find it full of the inhabitants of the seventh circle of hell..." - Paul Kerr, <a href="https://besttuna.blogspot.com/2019/04/the-bird-and-the-monkey.html" target="_blank"><i>The Devil Has The Best Tuna</i></a></span></span><br />
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<span style="font-family: "verdana" , sans-serif;"><i>Ghost Worlds (Animal Rites)</i> is a collaboration between Newcastle-born Handpan player, Undertoad (aka </span><span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;">Neil Coles</span>), and Scottish Borders based artist-filmmakers & indie/alternative musicians, Avant Kinema (Sarahjane Swan & Roger Simian, who also create music as The Bird And The Monkey). </span><br />
<span style="font-family: "verdana" , sans-serif;">The music was composed to soundtrack </span><span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;">Avant Kinema's 25 minute long</span> Expanded Cinema Performance, part of Alchemy Film and Moving Image Festival's <i>Celebrate Super 8</i> event at the Auld Baths, Hawick (Friday 4th May 2018). The track's</span> evolution began with Undertoad creating an improvised Handpan jam. To this recording the duo then added their own musical elements: Sarahjane Swan's voice and Roger Simian's instrumentation.</span><br />
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<span style="font-family: "verdana" , sans-serif;">The album is available to download from The Bird And The Monkey's Bandcamp page.</span><br />
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<center>
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/track=569810121/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/transparent=true/" style="border: 0; height: 442px; width: 350px;"><a href="http://thebirdandthemonkey.bandcamp.com/track/ghost-worlds-animal-rites">Ghost Worlds (Animal Rites) by Avant Kinema / Undertoad</a></iframe></center>
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<span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;"><br /></span></span></div>
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<span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;"><br /></span></span></div>
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<span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;"> </span></span>
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Athene Noctuahttp://www.blogger.com/profile/15138777467179453959noreply@blogger.com0tag:blogger.com,1999:blog-2808512155163057333.post-57796531774457915102019-03-14T16:37:00.001-07:002019-03-14T16:37:36.232-07:00<div style="text-align: center;">
<b><span style="font-family: "trebuchet ms" , sans-serif;"><i>GHOST WORLDS: ANIMAL RITES</i> </span></b><b><span style="font-family: "trebuchet ms" , sans-serif;"><b><span style="font-family: "trebuchet ms" , sans-serif;">(The 10 Minute Edit) -</span></b></span></b></div>
<div style="text-align: center;">
<b><span style="font-family: "trebuchet ms" , sans-serif;"><b><span style="font-family: "trebuchet ms" , sans-serif;"> </span></b>Document of an Expanded Cinema Performance by AVANT KINEMA </span></b></div>
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<b><span style="font-family: "trebuchet ms" , sans-serif;">at Alchemy Film And Moving Image Festival, Hawick, May 2018</span></b></div>
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<center>
<iframe allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/wHuKRDp1AcE" width="560"><br></iframe></center>
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<b><span style="font-family: "trebuchet ms" , sans-serif;"><a href="http://www.youtube.com/avantkinema" target="_blank">WE'D LOVE YOU TO SUBSCRIBE <br />TO OUR YOUTUBE CHANNEL:<br />YOUTUBE.COM/AVANTKINEMA</a></span></b></div>
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<span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></div>
<span style="font-family: "trebuchet ms" , sans-serif;">This is the 10 minute edit of <i>GHOST WORLDS (ANIMAL RITES)</i> - the video document of a 25 minute long Expanded Cinema Live Performance by Avant Kinema (Sarahjane Swan & Roger Simian) at Alchemy Film and Moving Image Festival, Hawick, May 2018.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6RX1DGfdxAv9nLBDx_p8L0YnbFvgyMFonTU3NW46gc6Ee1oChRK-Cnk9rxfqMK_IYMtZ6wMx0ZgdKdUwAkSStWUXUs5dfACAR2z65RZZ9vJaySY96SF3c3Bkw8xFX8jWwTlKl732er1nE/s1600/GhostWorldsLive-04-05-18b-00.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="1280" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6RX1DGfdxAv9nLBDx_p8L0YnbFvgyMFonTU3NW46gc6Ee1oChRK-Cnk9rxfqMK_IYMtZ6wMx0ZgdKdUwAkSStWUXUs5dfACAR2z65RZZ9vJaySY96SF3c3Bkw8xFX8jWwTlKl732er1nE/s400/GhostWorldsLive-04-05-18b-00.jpg" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1sfxorCfMjzjpNY4NTjdIMBC-nmcCeNhnAJqDipU5e_revICGrH3wAs3HDzK7L-8rSJnRRx6zaNp4dWfHHU33jBAwlbQxsh5x8yw3wwiyzL14jUiDgGGX5tR8lOlVzdBFhasZeeU6wUhl/s1600/GhostWorldsLive-04-05-18b-03.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="1280" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1sfxorCfMjzjpNY4NTjdIMBC-nmcCeNhnAJqDipU5e_revICGrH3wAs3HDzK7L-8rSJnRRx6zaNp4dWfHHU33jBAwlbQxsh5x8yw3wwiyzL14jUiDgGGX5tR8lOlVzdBFhasZeeU6wUhl/s400/GhostWorldsLive-04-05-18b-03.jpg" width="400" /></a></div>
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<span style="font-family: "trebuchet ms" , sans-serif;">An experimental hybrid of both digital and analogue filmmaking, <i>Ghost Worlds</i> makes use of expired Kodachrome 40 filmstock, home-processed using the Caffenol recipe (coffee, washing soda, vitamin c) and handcrafted by directly scratching & painting the film. </span><br />
<br />
<span style="font-family: "trebuchet ms" , sans-serif;">The Super 8 footage was filmed on location throughout Scotland (Scottish Borders, Dumfriesshire, Perthshire, Ayrshire & The Orkney Islands). </span><br />
<br />
<span style="font-family: "trebuchet ms" , sans-serif;">The full 25 minute version of the film is currently in post-production and will be released at a later date. </span><br />
<br />
<span style="font-family: "trebuchet ms" , sans-serif;">The soundtrack is a collaboration between Avant Kinema (who also make music as The Bird And The Monkey) and Undertoad (aka Neil Coles, a Folk Musician & Psytrance exponent from Newcastle, also one-time friend and collaborator with Ozric Tentacles). Undertoad here provides the improvised Handpan phrases which act as a rhythmic and melodic underlay for Sarahjane Swan's vocals and Roger Simian's instrumentation. </span><br />
<br />
<span style="font-family: "trebuchet ms" , sans-serif;"><i>Ghost Worlds (Animal Rites)</i> is a Vegan Art Film, inspired by Avant Kinema's interest in animal rights, veganism and the work of such activists as Earthling Ed and Joey Carbstrong. </span><br />
<br />
<div style="text-align: center;">
<span style="font-family: "trebuchet ms" , sans-serif;">**Warning: the film contains some scenes which viewers may find disturbing** </span></div>
<br />
<center>
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<center>
<b><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;"> </span></span></b></center>
<center>
<b><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;"> </span></span></b><span style="font-family: "trebuchet ms" , sans-serif;"> </span><br /><span style="font-family: "trebuchet ms" , sans-serif;"></span></center>
Athene Noctuahttp://www.blogger.com/profile/15138777467179453959noreply@blogger.com0tag:blogger.com,1999:blog-2808512155163057333.post-26224282335484567022018-10-05T01:38:00.002-07:002018-10-07T01:28:29.382-07:00Review: Scottish Indie Psychological Thriller, "Far From The Apple Tree"<br />
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<span style="color: #1d2129;"><span style="font-family: ,;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhy64qfo7b-F1cVePYGMeTmlEpw7uvqcsslBvAvnAezY8sXmu3u9aCWzE1XbxGeNyW3eBbNv4PohbqS_qosB-UXoz4X2VnFkmLs96sJArF7oRtYY2r_tWJSwQbRyk8B05tQUI2QZmkR4H7O/s1600/AppleTreeProjection.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1030" data-original-width="1382" height="475" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhy64qfo7b-F1cVePYGMeTmlEpw7uvqcsslBvAvnAezY8sXmu3u9aCWzE1XbxGeNyW3eBbNv4PohbqS_qosB-UXoz4X2VnFkmLs96sJArF7oRtYY2r_tWJSwQbRyk8B05tQUI2QZmkR4H7O/s640/AppleTreeProjection.jpg" width="640" /></a></span></span></span></div>
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<span style="color: #1d2129;"><span style="font-family: ,;"><span style="font-size: medium;">We
would really love this Scottish Indie feature film to do well when it
gets released next year. If you like the trailer, please feel
free to share it around...</span></span></span><br />
<span style="color: #1d2129;"><span style="font-family: ,;"><span style="font-size: medium;"> </span></span></span>
<br />
<div>
<center>
<iframe allowfullscreen="" frameborder="0" height="360" mozallowfullscreen="" src="https://player.vimeo.com/video/217144916" webkitallowfullscreen="" width="640"></iframe>
<a href="https://vimeo.com/217144916">Tartan 14 - Far From the Apple Tree</a><br />
from <a href="https://vimeo.com/tartanfeatures">Year Zero : Tartan Features</a> on <a href="https://vimeo.com/">Vimeo</a>.<br />
<span style="color: #1d2129;"><span style="font-family: ,;"><span style="font-size: medium;"> </span></span></span></center>
<div style="text-align: left;">
<span style="color: #1d2129;"><span style="font-family: ,;"><span style="font-size: medium;">The
film in question is the Arthouse Psych-Horror, <i>Far From The
Apple Tree</i>, starring Netflix-star, Sorcha Groundsell (lead
actor in the 2018 shape-shifting horror romance box-set series, <i>The
Innocents</i>) and directed by Scottish low budget film director
and Indie Music obsessive, Grant McPhee. McPhee's previous features
have included documentaries on the history of Scottish labels &
bands, such as <i>Big Gold Dream</i> (on the Post-Punk labels
Fast Product & Postcard), which was broadcast last year on BBC2:
a good year and a bit before the Beeb's <i>Rip It Up: The Story of
Scottish Pop</i> and the National Museum of Scotland exhibition of
the same name.</span></span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjy5R18_zrNBhuqBPp0uk4IKrqx6Z9dk-vcUUx6-Tw14pFlzsL6dreurZuUUZ3MTY474Pj01AsMWzO8vnfh5-oSiWbl04Ffv4NiRHbUQutJPDWvTCGqpaPDfghK4jkZDFipGhRjo7Veuaca/s1600/Far-From-the-Apple-Tree-Poster.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1132" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjy5R18_zrNBhuqBPp0uk4IKrqx6Z9dk-vcUUx6-Tw14pFlzsL6dreurZuUUZ3MTY474Pj01AsMWzO8vnfh5-oSiWbl04Ffv4NiRHbUQutJPDWvTCGqpaPDfghK4jkZDFipGhRjo7Veuaca/s640/Far-From-the-Apple-Tree-Poster.png" width="451" /></a></div>
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<div class="western" style="font-style: normal; font-weight: normal;">
<span style="color: #1d2129;"><span style="font-family: ,;"><span style="font-size: medium;"><i>Far
From The Apple Tree</i> - written by the talented screenwriter Ben
Soper and produced by Steven Moore and Olivia Gifford (both producers
on the <i>Outlander</i> series) - is number 14 in the Tartan
Features series of low-budget-but-high-production-values full-length
Scottish independent films made since Grant McPhee's 2014 feature, <i>Sarah's Room</i>. </span></span></span><br />
<span style="color: #1d2129;"><span style="font-family: ,;"><span style="font-size: medium;"> </span></span></span>
</div>
<div class="western">
<span style="color: #1d2129;"><span style="font-family: ,;"><span style="font-size: medium;"><span style="font-style: normal;"><span style="font-weight: normal;">It's
scheduled to be released some time early next year "</span></span></span></span></span><span style="color: #1d2129;"><span style="font-family: inherit;"><span style="font-size: medium;"><span style="font-style: normal;"><span style="font-weight: normal;">through
one of the UK's most daring art-house labels", and there will
also be selected BFI screenings.</span></span></span></span></span></div>
<div class="western">
<br />
<span style="color: #1d2129;"><span style="font-family: ,;"><span style="font-size: medium;"><span style="font-style: normal;"><span style="font-weight: normal;">The
soundtrack for the film is by songwriter Rose McDowall (who came to
fame in the UK in the 1980s as one half of Scottish Post-Punk Pop
Duo, Strawberry Switchblade) and Canadian based "electroacoustic music composer and media artist, </span></span></span></span></span><span style="color: #1d2129;"><span style="font-family: ,;"><span style="font-size: medium;"><span style="font-style: normal;"><span style="font-weight: normal;">Shawn Pinchbeck.</span></span></span></span></span><br />
<br />
<span style="color: #1d2129;"><span style="font-family: ,;"><span style="font-size: medium;"><span style="font-style: normal;"><span style="font-weight: normal;">Unlike
the majority of feature films being made anywhere around the World
today, the <i>FFTAT</i> production is notable for having an entirely female
cast. We ourselves - being a micro-collective comprising of one woman
and one man - were pleased to discover that the crew on the shoot was made up of a similar </span></span></span></span></span><span style="color: #1d2129;"><span style="font-family: inherit;"><span style="font-size: medium;"><span style="font-style: normal;"><span style="font-weight: normal;">50/50
male/female split. Mainstream cinema should take note and learn
something from this new, more progressive breed of independent
filmmakers. It is also heartening to learn that Grant McPhee and the
rest of the Tartan Features / YearZero filmmakers are striving
towards paying all crew members the Scottish Living Wage wherever
possible. </span></span></span></span></span><br />
<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmCUTAZcmbZSAsZa8kp0Zu_35YVe5AcnmPQlGLNPSNsBonXfZUkVnFjVsCF_k1ljJ94TpDAbJtXuWfolJyhGikDq82I7JcIAI-JsgmJVsyv4B9MoJBlk-Lranf3JtDZhRQ_-R-4ClRCPss/s1600/GrantMcPheeWithCamera.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="397" data-original-width="541" height="292" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmCUTAZcmbZSAsZa8kp0Zu_35YVe5AcnmPQlGLNPSNsBonXfZUkVnFjVsCF_k1ljJ94TpDAbJtXuWfolJyhGikDq82I7JcIAI-JsgmJVsyv4B9MoJBlk-Lranf3JtDZhRQ_-R-4ClRCPss/s400/GrantMcPheeWithCamera.jpg" width="400" /></a></div>
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<div class="western" style="font-style: normal; font-weight: normal; margin-bottom: 0.17cm; orphans: 2; widows: 2;">
<br />
<span style="color: #1d2129;"><span style="font-family: ,;"><span style="font-size: medium;">Before
we go any further - in the interests of transparency - we should
disclose our involvement in the production of <i>Far From The
Apple Tree</i>. Last year, after reading our Avant Kinema
blog post detailing our experiments with shooting Super 8 film using
expired filmstock, home processing with household products and
handcrafting film with scratches and colours, Grant McPhee invited us
to join the crew on the shoot of his latest feature. We were blown
away by the generosity and open-ness of this approach and also fascinated
to see first-hand how a bigger budget production with full crew and
production staff operates.</span></span></span><br />
<br />
<span style="color: #1d2129;"><span style="font-family: ,;"><span style="font-size: medium;">So, we
joined the 2nd Unit for the first two days of shooting in Perthshire
in March 2017 - along with performer Ashley Sutherland and
photographer Lucas Kao - and we were given free rein to wander the
house and its environs in order to help create an authentic looking
archive of Super 8 and 16mm film for Grant McPhee. and his editors to
draw on whilst making the feature. It was an amazing and quite
mind-blowing experience for us, and we were both really impressed by
the friendliness and generosity of everybody we encountered. </span></span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDHTdmjlbldVvEL4RE-NK7RGE5RrLGfyZyJuuDcxWrQ45pxru6xfcjYOb1Hz6vN3naI8df8dXqnsTT9CRNwHA8wy6r0ZtHtbI4WJb7UnquCTOucff3nfgxqeFdm3usIV6B0pq-6wtCsnaT/s1600/DigitalFilmmakerAppleTree-AvantKinema.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="161" data-original-width="491" height="130" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDHTdmjlbldVvEL4RE-NK7RGE5RrLGfyZyJuuDcxWrQ45pxru6xfcjYOb1Hz6vN3naI8df8dXqnsTT9CRNwHA8wy6r0ZtHtbI4WJb7UnquCTOucff3nfgxqeFdm3usIV6B0pq-6wtCsnaT/s400/DigitalFilmmakerAppleTree-AvantKinema.jpg" width="400" /></a></div>
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<span style="color: #1d2129;"><span style="font-family: ,;"><span style="font-size: medium;">Here are some analogue stills we shot of Ashley Sutherland with our Lomography cameras during the two day shoot, whilst setting up shots to be captured in Super 8 and 16mm. </span></span></span><br />
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<span style="color: #1d2129;"><span style="font-family: ,;"><span style="font-size: medium;"> </span></span></span><span class="style8"><i><br />
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<img alt="apple tree rites - lomography fisheye stills by sarahjane swan & roger simian (scotland) w/ performer Ashley Sutherland" border="4" height="320" src="https://www.thebirdandthemonkey.com/swansimian/images/appletree-01/001.jpg" width="320" />
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<img alt="apple tree rites - lomography fisheye stills by sarahjane swan & roger simian (scotland) w/ performer Ashley Sutherland" border="4" height="320" src="https://www.thebirdandthemonkey.com/swansimian/images/appletree-01/002.jpg" width="320" />
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<img alt="apple tree rites - lomography fisheye stills by sarahjane swan & roger simian (scotland) w/ performer Ashley Sutherland" border="4" height="320" src="https://www.thebirdandthemonkey.com/swansimian/images/appletree-01/003.jpg" width="320" />
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<img alt="apple tree rites - lomography fisheye stills by sarahjane swan & roger simian (scotland) w/ performer Ashley Sutherland" border="4" height="320" src="https://www.thebirdandthemonkey.com/swansimian/images/appletree-01/004.jpg" width="320" />
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<img alt="apple tree rites - lomography fisheye stills by sarahjane swan & roger simian (scotland) w/ performer Ashley Sutherland" border="4" height="320" src="https://www.thebirdandthemonkey.com/swansimian/images/appletree-01/005.jpg" width="320" />
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<img alt="apple tree rites - lomography fisheye stills by sarahjane swan & roger simian (scotland) w/ performer Ashley Sutherland" border="4" height="320" src="https://www.thebirdandthemonkey.com/swansimian/images/appletree-01/006.jpg" width="320" />
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<img alt="apple tree rites - lomography fisheye stills by sarahjane swan & roger simian (scotland) w/ performer Ashley Sutherland" border="4" height="320" src="https://www.thebirdandthemonkey.com/swansimian/images/appletree-01/007.jpg" width="320" />
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<img alt="apple tree rites - lomography fisheye stills by sarahjane swan & roger simian (scotland) w/ performer Ashley Sutherland" border="4" height="320" src="https://www.thebirdandthemonkey.com/swansimian/images/appletree-01/008.jpg" width="320" />
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<img alt="apple tree rites - lomography fisheye stills by sarahjane swan & roger simian (scotland) w/ performer Ashley Sutherland" border="4" height="320" src="https://www.thebirdandthemonkey.com/swansimian/images/appletree-01/009.jpg" width="320" />
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<img alt="apple tree rites - lomography fisheye stills by sarahjane swan & roger simian (scotland) w/ performer Ashley Sutherland" border="4" height="320" src="https://www.thebirdandthemonkey.com/swansimian/images/appletree-01/010.jpg" width="320" />
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<img alt="apple tree rites - lomography fisheye stills by sarahjane swan & roger simian (scotland) w/ performer Ashley Sutherland" border="4" height="320" src="https://www.thebirdandthemonkey.com/swansimian/images/appletree-02/000.jpg" width="320" />
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<img alt="apple tree rites - lomography fisheye stills by sarahjane swan & roger simian (scotland) w/ performer Ashley Sutherland" border="4" height="320" src="https://www.thebirdandthemonkey.com/swansimian/images/appletree-02/001.jpg" width="320" />
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<img alt="apple tree rites - lomography fisheye stills by sarahjane swan & roger simian (scotland) w/ performer Ashley Sutherland" border="4" height="320" src="https://www.thebirdandthemonkey.com/swansimian/images/appletree-02/002.jpg" width="320" />
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<img alt="apple tree rites - lomography fisheye stills by sarahjane swan & roger simian (scotland) w/ performer Ashley Sutherland" border="4" height="320" src="https://www.thebirdandthemonkey.com/swansimian/images/appletree-02/003.jpg" width="320" />
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<img alt="apple tree rites - lomography fisheye stills by sarahjane swan & roger simian (scotland) w/ performer Ashley Sutherland" border="4" height="320" src="https://www.thebirdandthemonkey.com/swansimian/images/appletree-02/004.jpg" width="320" />
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<img alt="apple tree rites - lomography fisheye stills by sarahjane swan & roger simian (scotland) w/ performer Ashley Sutherland" border="4" height="320" src="https://www.thebirdandthemonkey.com/swansimian/images/appletree-02/005.jpg" width="320" />
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<img alt="apple tree rites - lomography fisheye stills by sarahjane swan & roger simian (scotland) w/ performer Ashley Sutherland" border="4" height="320" src="https://www.thebirdandthemonkey.com/swansimian/images/appletree-02/006.jpg" width="320" />
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<img alt="apple tree rites - lomography fisheye stills by sarahjane swan & roger simian (scotland) w/ performer Ashley Sutherland" border="4" height="320" src="https://www.thebirdandthemonkey.com/swansimian/images/appletree-02/007.jpg" width="320" />
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<br />
<span style="color: #1d2129;"><span style="font-family: ,;"><span style="font-size: medium;">The
working edit of the <i>Far From The Apple Tree</i> movie, which we were
priviliged enough to be allowed to preview recently, was, in our
estimation, an exceptional example of the way that certain 21st
Century directors are able to draw on their 20th Century influences
(in this case the 1960s & 70s arthouse horrors / psychological
thrillers which Grant McPhee and writer Ben Soper love so much) to
create something utterly fresh, utterly contemporary. </span></span></span>
</div>
<div class="western">
<span style="color: #1d2129;"><span style="font-family: ,;"><span style="font-size: medium;"><span style="font-style: normal;"><span style="font-weight: normal;">The
film, which is based mostly in a grand but spooky Scottish stately
home, follows the increasingly fractured and disorientating
interactions between up-and-coming artist and intern, Judith (Sorcha
Groundsell), and the disfunctional, Mother Figure, artist she
admires, </span></span></span></span></span><span style="font-family: inherit;"><span style="font-size: medium;">Roberta Roslyn (Victoria
Liddelle: "The Loch" tv series). Bringing the Scottish
story-telling tradition of the Other Self / Doppleganger and the
Duality of the Individual - as in <i>Dr Jekyll</i> or <i>Justified
Sinner</i> - bang up to date, Judith is hired by Roberta to create an archive
around the Lost Girl of the House, Maddy - a near double of Judith herself -
whose absence is ever-present.</span></span></div>
<div class="western">
<i>FFTAT</i><span style="color: #1d2129;"><span style="font-family: ,;"><span style="font-size: medium;"><span style="font-style: normal;"><span style="font-weight: normal;">
glories in a smorgasbord of filmmaking techniques and formats, both
digital and analogue, which helps McPhee and his team reference a
whole history of cinema at the same time as looking forwards towards
the future of cinema. </span></span></span></span></span><br />
<span style="color: #1d2129;"><span style="font-family: ,;"><span style="font-size: medium;"><span style="font-style: normal;"><span style="font-weight: normal;"> </span></span></span></span></span>
</div>
<div class="western">
<span style="color: #1d2129;"><span style="font-family: ,;"><span style="font-size: medium;"><span style="font-style: normal;"><span style="font-weight: normal;">We
love the film and were honoured to be involved in its production. </span></span></span></span></span><br />
<span style="color: #1d2129;"><span style="font-family: ,;"><span style="font-size: medium;"><span style="font-style: normal;"><span style="font-weight: normal;"> </span></span></span></span></span>
</div>
<div class="western" style="font-style: normal; font-weight: normal;">
<span style="color: #1d2129;"><span style="font-family: ,;"><span style="font-size: medium;">Share
the trailer around if you like what you see, click on some links
below and spread the good word about <i>Far From The Apple Tree</i>...
</span></span></span>
</div>
<div class="western" style="font-style: normal; font-weight: normal;">
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<a href="https://www.facebook.com/farfromtheappletreemovie/"><span id="goog_100582944"></span>FACEBOOK</a><br />
<span id="goog_100582945"></span><br />
<a href="https://twitter.com/MummyAndMaddy" target="_blank"><span id="goog_100582945">TWITTER</span></a></div>
<div class="western" style="font-style: normal; font-weight: normal;">
<br />
<a href="http://avantkinema.blogspot.com/2018/05/interview-w-grant-mcphee-on.html" target="_blank">AVANT KINEMA INTERVIEW w/ GRANT MCPHEE</a></div>
<br />
<style type="text/css">P { margin-bottom: 0.21cm; }A:link { }</style>Athene Noctuahttp://www.blogger.com/profile/15138777467179453959noreply@blogger.com1tag:blogger.com,1999:blog-2808512155163057333.post-86661881530198923672018-07-15T11:16:00.000-07:002018-07-24T05:11:50.059-07:00Interview w/ artist, James Craig Page (Scotland)<div class="western" style="font-style: normal; margin-bottom: 0cm;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioYkAEZb7d_sFJlzQa0EBUFcQ0R1cSC_NoxJucvzt6rMhz0DMtJ07Haru0ZRgzkmmcU7aR7BZLgxjpYPOMUtIExvQ5PmFMAHJvozPsNZqKPxpH-rwhTCsuQeNOEpyfJpmePZ5K6k6mZz8e/s1600/JCP-06.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1169" data-original-width="1600" height="466" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioYkAEZb7d_sFJlzQa0EBUFcQ0R1cSC_NoxJucvzt6rMhz0DMtJ07Haru0ZRgzkmmcU7aR7BZLgxjpYPOMUtIExvQ5PmFMAHJvozPsNZqKPxpH-rwhTCsuQeNOEpyfJpmePZ5K6k6mZz8e/s640/JCP-06.jpg" width="640" /></a></div>
<i><b><span style="font-size: small;"><span style="font-family: "verdana" , sans-serif;"><span style="color: black; font-size: small;"><br />From Sarahjane Swan's hometown of Dunbar, in East Lothian,</span></span><span style="font-family: "verdana" , sans-serif;"> self-taught artist, James Craig Page, has been producing vibrant, exciting and hyper-imaginative paintings for many years now. As well as his Church of Gloss art-movement, inspired by a cloud over the Wicker Man Festival, JCP has garnered a great deal of attention for the meditative practice of stone stacking, appearing several times on prime-time BBC1, setting up the </span></span><span style="font-family: "verdana" , sans-serif;"><span style="color: black; font-size: small;">European Stone Stacking Championships in Dunbar, and travelling to Austin, Texas, for the World Championship.</span></span></b></i>
<i><b><span style="font-family: "verdana" , sans-serif;"><span style="color: black; font-size: small;"></span></span></b></i>
<span style="font-family: "verdana" , sans-serif;"><span style="color: black; font-size: small;"><i><b> </b></i></span></span><br />
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<span style="font-family: "verdana" , sans-serif;"><span style="color: black; font-size: small;"><i><b>Last year Avant Kinema were privileged to be able to add these two James Craig Page originals to our collection.</b></i></span></span><br />
<span style="font-family: "verdana" , sans-serif;"><span style="color: black; font-size: small;"><i><b> </b></i></span></span>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQ2Yw59t0_DsfOyuhvBg4tkiGWLzUiOa_dy9b4WRT9P7YC-JzJirj-fmcAirRj76iRnxiDZ6GqPZZ-2Ed-jPHq8ZO7ujXwloio5xHSccjJj61xHmKjEAthJimmYRz7wAb9-hvI2d3_HNtS/s1600/JCP-Painting-01.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="960" data-original-width="664" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQ2Yw59t0_DsfOyuhvBg4tkiGWLzUiOa_dy9b4WRT9P7YC-JzJirj-fmcAirRj76iRnxiDZ6GqPZZ-2Ed-jPHq8ZO7ujXwloio5xHSccjJj61xHmKjEAthJimmYRz7wAb9-hvI2d3_HNtS/s320/JCP-Painting-01.jpg" width="221" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtloLI2-IVfOIGfJKaG5H4RXhjW6zCGEH-17xl0Vp_9BQhIR1-sKrqT1aDHx86ksxgOhcmM9t0CugOPV2M2Senx5NTgJgsiy6gO3gotVjXgOEnuMSGhEtS-tsoecIVh6cEgyvNVJtEG-Yj/s1600/JCP-Painting-02.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="960" data-original-width="646" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtloLI2-IVfOIGfJKaG5H4RXhjW6zCGEH-17xl0Vp_9BQhIR1-sKrqT1aDHx86ksxgOhcmM9t0CugOPV2M2Senx5NTgJgsiy6gO3gotVjXgOEnuMSGhEtS-tsoecIVh6cEgyvNVJtEG-Yj/s320/JCP-Painting-02.jpg" width="215" /></a></div>
<br />
<span style="font-family: "verdana" , sans-serif;"><span style="color: black; font-size: small;"><b><i>Here's our interview with James. </i></b></span></span>
<span style="font-family: "verdana" , sans-serif;"><span style="color: black; font-size: small;"><b>Avant
Kinema: Who are you? Where did you grow up and where are you based
now?</b> <br /><br />James
Craig Page: Who am I? I am a singular aspect of consciousness having
a living experience. I was born in Dunbar and remain there. </span></span></div>
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<div class="western" style="font-style: normal; margin-bottom: 0cm;">
<span style="font-family: "verdana" , sans-serif;"><span style="color: black; font-size: small;"><b><br />AK:
Could you give us a history of your involvement with creating visual
art? </b></span></span>
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<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">
</span></span>
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<div class="western" style="font-style: normal; font-weight: normal; margin-bottom: 0cm;">
<span style="font-family: "verdana" , sans-serif;"><span style="color: black; font-size: small;"><br />JCP:
I began creating art in my early 30s after being made redundant from
my gardening job working with Sir George Taylor at Belhaven Gardens,
Dunbar. I had written poetry and short stories for many years, but I
remember the first piece of wood I found on the beach that I took
home and painted on. I had no money for materials, and remember going
to the early learning centre in St James Centre in Edinburgh to buy
Poster paint for £1.00 a bottle. My brother in law worked in a paper
factory and gave me large sheets, which I stapled together to create
a canvas. I mixed up the paint, threw it on, and began experimenting
like a child with primary colours. I'd wait till it dried then
identify shapes, faces, creatures and then outline them in black
line. I learned more from the paint that day than I ever did in art
class at school. After a year unemployed I painted every day, more
for my sanity than anything else. After another 6 months I got put on
a job club course to encourage me to get a real job. I left after a
day, walked home from Musselburgh penniless, and booked the local
library, free of charge to hold my first exhibition. I decided I had
nothing to lose and a houseful of art to sell. So a month later I
sold 6 pieces at my first exhibition and never looked back. I've also
never had a "real" job since.</span></span></div>
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">
</span></span>
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<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;"></span></span>
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</span></span>
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<div class="western" style="font-style: normal; margin-bottom: 0cm;">
<span style="font-family: "verdana" , sans-serif;"><span style="color: black; font-size: small;"><b>AK:
What were the major influences in the arts and in life which
encouraged you to become involved in this field? </b></span></span>
</div>
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">
</span></span>
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<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;"></span></span>
</div>
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">
</span></span>
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<div class="western" style="font-style: normal; font-weight: normal; margin-bottom: 0cm;">
<span style="font-family: "verdana" , sans-serif;"><span style="color: black; font-size: small;">JCP:
Finding I enjoyed playing with paint and general poverty encouraged
me to keep going.</span></span></div>
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">
</span></span>
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<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;"></span></span>
</div>
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">
</span></span>
<br />
<div class="western" style="font-style: normal; margin-bottom: 0cm;">
<span style="font-family: "verdana" , sans-serif;"><span style="color: black; font-size: small;"><b>AK:
What does the word experimental mean to you? </b></span></span>
</div>
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">
</span></span>
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<div class="western" style="font-style: normal; margin-bottom: 0cm;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;"></span></span>
</div>
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">
</span></span>
<br />
<div class="western" style="font-style: normal; font-weight: normal; margin-bottom: 0cm;">
<span style="font-family: "verdana" , sans-serif;"><span style="color: black; font-size: small;">JCP:
The word experimental means the starting point of an interesting
journey. </span></span>
</div>
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">
</span></span>
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<div class="western" style="font-style: normal; margin-bottom: 0cm;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;"></span></span>
</div>
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">
</span></span>
<br />
<div class="western" style="font-style: normal; margin-bottom: 0cm;">
<span style="font-family: "verdana" , sans-serif;"><span style="color: black; font-size: small;"><b>AK:
At Avant Kinema we have a particular interest in low budget, DIY or
LoFi forms of creativity. What are your thoughts on creating work
this way? </b></span></span>
</div>
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">
</span></span>
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<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;"></span></span>
</div>
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">
</span></span>
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<div class="western" style="font-style: normal; font-weight: normal; margin-bottom: 0cm;">
<span style="font-family: "verdana" , sans-serif;"><span style="color: black; font-size: small;">JCP:
I have always created stuff with inspiration not money. </span></span>
</div>
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">
</span></span>
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<div class="western" style="font-style: normal; margin-bottom: 0cm;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;"></span></span>
</div>
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">
</span></span>
<br />
<div class="western" style="font-style: normal; margin-bottom: 0cm;">
<span style="font-family: "verdana" , sans-serif;"><span style="color: black; font-size: small;"><b>AK:
Could you talk us through the whole process of how you generally go
about creating a work, from the initial concepts through to the
finishing touches? </b></span></span>
</div>
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">
</span></span>
<br />
<div class="western" style="font-style: normal; margin-bottom: 0cm;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;"></span></span>
</div>
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">
</span></span>
<br />
<div class="western" style="font-style: normal; font-weight: normal; margin-bottom: 0cm;">
<span style="font-family: "verdana" , sans-serif;"><span style="color: black; font-size: small;">JCP:
I have never started a painting or a rock stack with any thought
whatsoever, preferring to work from a Dwamic state of doing without
thinking. Then I may reach a point where I consciously interact with
what's been created, but not always. I have studied meditation,
mediumship and palm reading from my teenage years, so find it easy to
switch off, tune in, then create.</span></span></div>
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">
</span></span>
<br />
<div class="western" style="font-style: normal; margin-bottom: 0cm;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;"></span></span>
</div>
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">
</span></span>
<br />
<div class="western" style="font-style: normal; margin-bottom: 0cm;">
<span style="font-family: "verdana" , sans-serif;"><span style="color: black; font-size: small;"><b>AK:
What do you use to generate ideas and stimulate your creativity? </b></span></span>
</div>
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">
</span></span>
<br />
<div class="western" style="font-style: normal; margin-bottom: 0cm;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;"></span></span>
</div>
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">
</span></span>
<br />
<div class="western" style="font-style: normal; font-weight: normal; margin-bottom: 0cm;">
<span style="font-family: "verdana" , sans-serif;">JCP:
Nature has become my muse, and I've never failed to be inspired by her
beauty.</span></div>
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">
</span></span>
<br />
<div class="western" style="font-style: normal; margin-bottom: 0cm;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;"></span></span>
</div>
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">
</span></span>
<br />
<div class="western" style="font-style: normal; margin-bottom: 0cm;">
<span style="font-family: "verdana" , sans-serif;"><span style="color: black; font-size: small;"><b>AK:
Have you been able to get much in the way of funding towards travel
to festivals or for your art in general? </b></span></span>
</div>
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">
</span></span>
<br />
<div class="western" style="font-style: normal; margin-bottom: 0cm;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;"></span></span>
</div>
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">
</span></span>
<br />
<div class="western" style="font-style: normal; font-weight: normal; margin-bottom: 0cm;">
<span style="font-family: "verdana" , sans-serif;"><span style="color: black; font-size: small;">JCP:
Through creating the European Stone Stacking Championships in Dunbar,
and curating a major Land Art Exhibition at Summerhall Gallery,
Edinburgh, it has opened doors to funding opportunities. I have had
very little in the way of personal funding, and find writing
applications to be the 2nd most arduous task I've come across in
life.</span></span>
<span style="font-family: "verdana" , sans-serif;"><span style="color: black; font-size: small;"><span id="goog_1887528513"></span><span id="goog_1887528514"></span> <b>AK:
Could you tell us what Stone Stacking is and how you came about the
practice? What is your philosophy? Is it art or meditation? </b></span></span>
</div>
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">
</span></span>
<br />
<div class="western" style="font-style: normal; margin-bottom: 0cm;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;"></span></span>
</div>
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">
</span></span>
<br />
<div class="western" style="font-style: normal; font-weight: normal; margin-bottom: 0cm;">
<span style="font-family: "verdana" , sans-serif;"><span style="color: black; font-size: small;">JCP:
Stonebalancing is a process of creative meditation which teaches you
more about yourself and the inner life of Nature than 25 years of
modern schooling ever could. I became aware of this practice through
online videos and the photographic work of Michael Grab aka Gravity
Glue, then through meeting and working with Sterling Gregory, Travis
Williams, Tim Anderson and such like Land Artists from around the
globe.</span></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4Zo19v1Yz1gBxN41w2_qQeNvzstPKnOm5ErPK8JsZ0cVJ-AqEV7r0Bo8xraDwWxxE-CcgiYcFJcqRPFqoZvoCTBcI7IUuhl44j2j07gLcAHQYC6mDbvULgNM9mlixQoBHGvu3sUz6BzAd/s1600/JCP-01.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1067" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4Zo19v1Yz1gBxN41w2_qQeNvzstPKnOm5ErPK8JsZ0cVJ-AqEV7r0Bo8xraDwWxxE-CcgiYcFJcqRPFqoZvoCTBcI7IUuhl44j2j07gLcAHQYC6mDbvULgNM9mlixQoBHGvu3sUz6BzAd/s400/JCP-01.jpg" width="266" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAw_ybjUb6Si_4wFNad6fc3CjzzHiQqnvG1q7Mpa8tTrdy9UfnAu9nyJqo8lBgH_pPGCtKAYy2bqzKwzeiRVQxo2K69uVyUI2PBq3nBM4n7Dw5TI4E6Xr923M3Pqml7bwVfqh2iQPxVhhp/s1600/JCP-03.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="640" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAw_ybjUb6Si_4wFNad6fc3CjzzHiQqnvG1q7Mpa8tTrdy9UfnAu9nyJqo8lBgH_pPGCtKAYy2bqzKwzeiRVQxo2K69uVyUI2PBq3nBM4n7Dw5TI4E6Xr923M3Pqml7bwVfqh2iQPxVhhp/s400/JCP-03.jpg" width="320" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4ezeJcZ6kP-dl62ksSJ9hJxdONfG52wzSHys3BxVG_-pYIzaaReWgCJ8qAJLircGlJCYKv2KUPE3TjIVlGlHQNWIMU68iUUz01ODC5plJfDelBZmBxvaSRsxPrFEwoLvCUsnocpVNnZAR/s1600/JCP-04.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1067" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4ezeJcZ6kP-dl62ksSJ9hJxdONfG52wzSHys3BxVG_-pYIzaaReWgCJ8qAJLircGlJCYKv2KUPE3TjIVlGlHQNWIMU68iUUz01ODC5plJfDelBZmBxvaSRsxPrFEwoLvCUsnocpVNnZAR/s400/JCP-04.jpg" width="266" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkmoR_ZMaN_w1VwB6enVvSho4-5cne8SLgstSp35OclvgMSsxkm7MmRLE4bo3YOCltZ_tOMbcWkQaB1ll-e-ugOZlQP_wLaJf8FGnpYySL4TL2c1CDaonHjOq7FUkbgGq-mZU4L4XwC7Xr/s1600/JCP-05.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1200" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkmoR_ZMaN_w1VwB6enVvSho4-5cne8SLgstSp35OclvgMSsxkm7MmRLE4bo3YOCltZ_tOMbcWkQaB1ll-e-ugOZlQP_wLaJf8FGnpYySL4TL2c1CDaonHjOq7FUkbgGq-mZU4L4XwC7Xr/s400/JCP-05.jpg" width="300" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhO3asJJIPpAM_0vvUVeotj5BXynLxREDbTFyqSsrZA4tOSw3-aSpxtjK75A6tc2DkaN0jganRKRd2xzr0lL87xIuHwdgKH-vD8TtpQgobH8JzKaVVwgY8wxx9drmdWlcOSzORMDFtALFMk/s1600/JCP-09.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1200" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhO3asJJIPpAM_0vvUVeotj5BXynLxREDbTFyqSsrZA4tOSw3-aSpxtjK75A6tc2DkaN0jganRKRd2xzr0lL87xIuHwdgKH-vD8TtpQgobH8JzKaVVwgY8wxx9drmdWlcOSzORMDFtALFMk/s400/JCP-09.jpg" width="300" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhv088eitpN8JlYRgV_iK9p38cu79DaZlADcDD0h-jN7laVwtrsxlSJMuRRa2odovVcHLtowHAw2ysHi48NpjgEqpW89-WbcOLmxxWAwcaVSghMkpWCXYx0mgm1ZULBoamEwzfN7qC_mV80/s1600/JCP-07.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1280" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhv088eitpN8JlYRgV_iK9p38cu79DaZlADcDD0h-jN7laVwtrsxlSJMuRRa2odovVcHLtowHAw2ysHi48NpjgEqpW89-WbcOLmxxWAwcaVSghMkpWCXYx0mgm1ZULBoamEwzfN7qC_mV80/s400/JCP-07.jpg" width="320" /></a></div>
<div style="text-align: center;">
</div>
</div>
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">
</span></span>
<br />
<div class="western" style="font-style: normal; margin-bottom: 0cm;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;"></span></span>
</div>
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">
</span></span>
<br />
<div class="western" style="font-style: normal; margin-bottom: 0cm;">
<span style="font-family: "verdana" , sans-serif;"><span style="color: black; font-size: small;"><b>AK:
Can you tell us what The Church Of Gloss is? How you created it and
what it stands for? </b></span></span>
</div>
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">
</span></span>
<br />
<div class="western" style="font-style: normal; margin-bottom: 0cm;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;"></span></span>
</div>
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">
</span></span>
<br />
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: "verdana" , sans-serif;"><span style="color: black; font-size: small;"><span style="font-style: normal;"><span style="font-weight: normal;">JCP:
The Church of Gloss or C.o.G was formed around 2007, after I met a
cloud in the sky above the Wicker Man festival. Shortly afterwards I
was given a word that came to me as a sound. This sound/word then
revealed itself to me over a period of five years. I was in the
presence of a another friend when I received this. I then chose a few
trusted creative and spiritually minded friends to share the word
with. We now have 111 members around the world: including a few well
known musicians, actors and artists I've been fortunate enough to
meet and trusted enough to share the word with. It was initially an
art collective started with Callum Easter, with a spiritually minded
ethos for self exploration and colloboration, and has evolved into
something much more.</span></span></span></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: "verdana" , sans-serif;"><span style="color: black; font-size: small;"><span style="font-style: normal;"><span style="font-weight: normal;"> </span></span></span></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0I4ECQsBtHFd90VT8BQOVv0jTDwMFRhuTxElZe07bdW-sY5cTdGEuLxg3Z78SE5VFsY7cS9eu8YwA3Wid8pLHb7aDawvp4r9JV5p51jatzApt2RBORccij4fPKdpT6DEMTBfFkMbwwCXd/s1600/JCP-Cloud.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="960" data-original-width="640" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0I4ECQsBtHFd90VT8BQOVv0jTDwMFRhuTxElZe07bdW-sY5cTdGEuLxg3Z78SE5VFsY7cS9eu8YwA3Wid8pLHb7aDawvp4r9JV5p51jatzApt2RBORccij4fPKdpT6DEMTBfFkMbwwCXd/s400/JCP-Cloud.jpg" width="266" /></a></div>
<div style="text-align: center;">
</div>
</div>
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">
</span></span>
<br />
<div class="western" style="font-style: normal; margin-bottom: 0cm;">
<span style="font-family: "verdana" , sans-serif;"><span style="color: black; font-size: small;"><b>AK:
What was it like appearing on </b></span><span style="color: black; font-size: small;"><i><b>The
One Show</b></i></span><span style="color: black; font-size: small;"><b>
on prime time BBC1 and having such wide media coverage? </b></span></span>
</div>
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">
</span></span>
<br />
<div class="western" style="font-style: normal; margin-bottom: 0cm;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;"></span></span>
</div>
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">
</span></span>
<br />
<div class="western" style="font-style: normal; font-weight: normal; margin-bottom: 0cm;">
<span style="font-family: "verdana" , sans-serif;"><span style="color: black; font-size: small;">JCP:
Appearing on <i>The One Show</i> and <i>Landward</i> earlier this
year was a great way to communicate my passion for this art form, and
to make people aware of the many amazing artists and human beings
that make up the ever expanding balancing community that I now feel a
big part of. It encourages me to keep on doing what I truly love,
even if the wages aren't that great!</span></span></div>
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">
</span></span>
<br />
<div class="western" style="font-style: normal; margin-bottom: 0cm;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;"></span></span>
</div>
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">
</span></span>
<br />
<div class="western" style="font-style: normal; margin-bottom: 0cm;">
<span style="font-family: "verdana" , sans-serif;"><span style="color: black; font-size: small;"><b>AK:
Do you have any future exhibitions, installations or artworks you
would like to tell us about? </b></span></span>
</div>
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">
</span></span>
<br />
<div class="western" style="font-style: normal; margin-bottom: 0cm;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;"></span></span>
</div>
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">
</span></span>
<br />
<div class="western" style="font-style: normal; font-weight: normal; margin-bottom: 0cm;">
<span style="font-family: "verdana" , sans-serif;"><span style="color: black; font-size: small;">JCP:
I'm currently curating the Dunbar Street Art Trail event 17th-26th
Aug including a shop window pop-up exhibition featuring international
and local artists and musicians. I will also be creating a Zen
Balance Garden at Summerhall for the Edinburgh Fringe festival with
Sterling Gregory. There will also be photographs from the <i>Art of
Balance</i> exhibition, held earlier this year, featuring some of the
best stone balancers and land artists from around the world. We are
currently looking at options to tour this show in London and New
York. </span></span>
</div>
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">
</span></span>
<br />
<div class="western" style="font-style: normal; margin-bottom: 0cm;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4BcCZbWCfGpN_vuI8PMRhoypgC-gw5s1JO_EhfZrckgPnw43wd4QU_8Dyp6wMeLVs-raomqvP82fNMLqMqH3cvALEPZCDfWQK_Fl2l83lKGKb4SUx81SheHY9wdUEmgCNip1uiuXLQhm9/s1600/JCP-08.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="890" data-original-width="1334" height="425" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4BcCZbWCfGpN_vuI8PMRhoypgC-gw5s1JO_EhfZrckgPnw43wd4QU_8Dyp6wMeLVs-raomqvP82fNMLqMqH3cvALEPZCDfWQK_Fl2l83lKGKb4SUx81SheHY9wdUEmgCNip1uiuXLQhm9/s640/JCP-08.jpg" width="640" /></a></span></span>
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;"></span></span>
</div>
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">
</span></span>
<br />
<div class="western" style="font-style: normal; font-weight: normal; margin-bottom: 0cm; text-align: center;">
<span style="font-family: "verdana" , sans-serif;"><span style="color: black; font-size: small;">You
can see more of my work at: </span></span>
</div>
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">
</span></span>
<br />
<div class="western" style="font-style: normal; margin-bottom: 0cm;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;"></span></span>
</div>
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">
</span></span>
<br />
<div align="CENTER" class="western" style="font-style: normal; margin-bottom: 0cm;">
<span style="font-family: "verdana" , sans-serif;"><span style="color: black; font-size: small;"><b><a href="http://jamescraigpage.co.uk/">Jamescraigpage.co.uk</a>
</b></span></span>
</div>
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">
</span></span>
<br />
<div align="CENTER" class="western" style="font-style: normal; margin-bottom: 0cm;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;"></span></span>
</div>
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">
</span></span>
<br />
<div align="CENTER" class="western" style="font-style: normal; margin-bottom: 0cm;">
<span style="font-family: "verdana" , sans-serif;"><span style="color: black; font-size: small;"><b><a href="http://dunbarstreetarttrail.co.uk/">Dunbarstreetarttrail.co.uk</a>
</b></span></span>
</div>
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">
</span></span>
<br />
<div align="CENTER" class="western" style="font-style: normal; margin-bottom: 0cm;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;"></span></span>
</div>
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">
</span></span>
<br />
<div align="CENTER" class="western" style="font-style: normal; margin-bottom: 0cm;">
<a href="http://stonestacking.co.uk/"><span style="font-family: "verdana" , sans-serif;"><span style="color: black; font-size: small;"><b>Stonestacking.co.uk</b></span></span></a><br />
<br /></div>
<div style="text-align: center;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">
</span></span>
</div>
<div class="western" style="font-style: normal; margin-bottom: 0cm; text-align: center;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;"></span></span>
</div>
<div style="text-align: center;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;">
</span></span>
</div>
<div class="western" style="font-style: normal; margin-bottom: 0cm; text-align: center;">
<center>
<span style="font-family: "verdana" , sans-serif;"><iframe allowfullscreen="" frameborder="0" height="270" mozallowfullscreen="" src="https://player.vimeo.com/video/243537847" webkitallowfullscreen="" width="480"></iframe>
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<span style="font-family: "verdana" , sans-serif;"><a href="https://vimeo.com/243537847">The Art of Balance</a> from <a href="https://vimeo.com/user11745981">Glenda Rome</a> on <a href="https://vimeo.com/">Vimeo</a>.</span></div>
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of Balance</i> short film.</b></span></span><span style="font-size: large;"></span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: large;"><span style="color: black; font-size: x-small;"><b>By C.o.G Productions.</b></span></span></div>
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<span style="font-family: "verdana" , sans-serif;"><span style="color: black; font-size: small;"><b>Thank
you for taking the time to answer our questions, James Craig Page.</b></span></span></div>
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</span></span><style type="text/css"><span style="font-family: Verdana, sans-serif;"><font size="3">P { margin-bottom: 0.21cm; }A:link { color: rgb(0, 0, 255); }</font></span></style>Athene Noctuahttp://www.blogger.com/profile/15138777467179453959noreply@blogger.com0tag:blogger.com,1999:blog-2808512155163057333.post-8359026747056603102018-07-02T13:00:00.002-07:002018-07-02T13:28:47.303-07:00Interview w/ filmmaker, Dagie Brundert (Germany)<div class="separator" style="clear: both; text-align: left;">
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<b>Not long after we started our own experiments in home-processing Super 8 film in 2016, our friend the American filmmaker, Walter Ungerer, suggested that Dagie Brundert in Berlin was a lady we might want to connect with. Dagie Brundert is a pioneer in the art of home-processing analogue film in household and/or natural products. She long ago moved on from the standard Caffenol recipe (washing soda, coffee, vitamin c) to messing around with everything from red wine to wild flowers or seaweed as developing agents in the service of her art, always with fantastic results. Dagie is ever generous with her knowledge, being a firm believer in the open source approach to information sharing and is regularly booked to host Super 8 film processing workshops.</b><br />
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AK: Who are you? Where did you grow up and where are you now based?<br />
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DB: Hi there, I am Dagie! Aka Dagmar. Aka Poly Phenoly ;-)<br />
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I was born somewhere in the middle West of Germany, lost and bored but also surrounded by trees, meadows and hidden places to play… but I needed to find a way out of it so I went – via some unimportant stations – to Berlin. 30 years ago. I call it now: home. My lovely ugly shiny Berlin!<br />
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AK: Could you give us a history of your involvement with creating work involving still or moving images?<br />
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DB: Before I discovered the moving image I was always drawing, writing, taking weird photos … and then one day my professor (I studied art in Berlin meanwhile) brought a super 8 camera to us students to play with … and that’s exactly the historical magical moment when the arrow hit me: I took it, checked it, made a simple film and whoooooosh a new universe opened its doors for me!!! I was able to set up a world on my table and make plastic figures act like I wanted! Animation! Yeah! Animate stuff, animate myself, play all along in my little bubble, I loved it.<br />
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AK: What were the major influences in the arts and in life which encouraged you to become involved with this field?<br />
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DB: Other films that showed me that there are no limits to fantasy, that there doesn’t have to be a classical story, that I was allowed to follow my funky instincts and just trust that something will evolve. Also music. Music helped me to survive lonely times. Like: The Beatles (honestly! I loved them when I was a kid!), John Peel who opened up the music universe for me (yes I was able to listen to him at night in Germany, broadcasted for BFBS in Germany), Dada, Maya Deren, Kenneth Anger, Schmelzdahin, Jacques Rivette …<br />
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AK: What does the word “experimental” mean to you?<br />
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DB: Playing with material and ideas.<br />
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AK: At Avant Kinema we have a particular interest in low budget, DIY or LoFi forms of creativity.<br />
What are your thoughts on films, music, zines or other artworks created in this way? Is this a way that you personally like working? If yes, would that be for aesthetic reasons or more because of budgetary constraints?<br />
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DB: Somehow I can’t think of any other way than no/low budget DIY … I have always been … well I cannot say “poor” since I’m quite privileged in this world that I happen to live in … but I love to tinker on my own, immediately when an idea strikes me, I wanna do it all at once, all by myself, now … If someone gave me a million I wouldn’t say no but it is not necessary. I don’t want to be dependant, I don’t want to wait.<br />
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AK: What was your earliest experience of using analogue film, video or photographic equipment?<br />
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DB: I choose analogue film and tell you a story: in my early Berlin student days when I just got the camera I strolled along my street together with my friend and we saw a stand at Woolworths with a mass of Barbie dolls. They looked so sad! In one second we knew we had to free them and make them actors in our first film! We checked our cash resources and freed 23 of them: blonde, brown, black hair; pink, blue, yellow dress, simple cheap barbies without knee or elbow joints. At home we lined them up and had so much fun just making them collapse. It became our/my first film “23 Barbiepuppen kippen um”. The bug had bitten me.<br />
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<iframe allowfullscreen="" frameborder="0" height="240" mozallowfullscreen="" src="https://player.vimeo.com/video/10576432" webkitallowfullscreen="" width="320"></iframe>
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<a href="https://vimeo.com/10576432">23 Barbiepuppen kippen um <br />(23 Barbie Dolls Collapse)</a> <br />
from <a href="https://vimeo.com/dagie">Dagie Brundert</a> on <a href="https://vimeo.com/">Vimeo</a>.</div>
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AK: Where did these initial steps lead?<br />
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DB: To my super 8 career!! At the beginning I didn’t really take myself and my films serious … but they grew. And now I’ve been doing it for more than 30 years, I have discovered so much, I have dived so deep into the material and into experimental ideas … there’s no end. It’s my sense and it’s my satisfaction.<br />
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AK: Did you have any guidance in using this technology or did you work it all out for yourself?<br />
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DB: Almost no guidance (there was no internet in the late 80es ;-) When I found out about self developing … it was all trial and error and some books that I read and some people that I<br />
talked to. And my earlier darkroom experiences as a photographer. Now it’s easier and that’s what I like on platforms like facebook: the open minded and sharing mind of the groups there. Mostly.<br />
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AK: What specific models of analogue equipment / stock do you favour, and why?<br />
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DB: All expired films!!! I especially adore 40 years old colour films …. Ektachrome 160 is my goddess … I just found an alternative E6 recipe that made it possible to use this fallen out of time stock and receive fantastic images. And of course testing new eco soups with my favourite b&w film & TriX. Nothing can make me more smile than shaking some TriX stripes in a tank full of rhubarb soup with soda and vitamin c, to open it after fixing and to hold the images in my hands! Oops, when I write and read it, it’s like giving birth! Only less painful!<br />
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AK: What is your process for using analogue technology and techniques? How do you shoot, process/develop, edit/correct, add effects or, in other ways, manipulate this raw material? How do you then present it to the World?<br />
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DB: I process now almost all of my films myself. Give them to some pros to have them scanned and then I edit them (FinalCut). I don’t manipulate them at all, only some time stretching here and there. And then I spit them out and throw them into the world. All my films are on Vimeo. I appear on film festivals from time to time.<br />
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AK: We're very interested in the way you've taken the Caffenol template and used it to experiment with everything from wine to seaweed in your processing. Do you have a strong understanding of the chemistry involved in this or do you just try lots of things out to see what works?<br />
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DB: When I began I had no idea about chemistry. I thought I understood b&w photography, I understood how the silver molecules in the emulsion got hit by light and then been transformed from silver salts to metallic silver … but that was almost all. Meanwhile I read a lot of articles about the processing components, about phenols … and I believe I understand it deeper and deeper: phenols are everywhere in almost all plants, phenols are mostly bitter (except for in raw potatoes which makes an amazing developer by the way!!) … briefly said: my instincts evolve with reading and just doing!!<br />
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AK: Have you shared any of your skills in the Analogue Arts with others through workshops, tutorials or other forms of training? How was this experience?<br />
<br />
DB: I am an analog hippie, I share all of my knowledge. Caffenol belongs to everybody, there is no patent on it. Some of my “soup films” are tutorials, like “Tullamol”<br />
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<iframe allowfullscreen="" frameborder="0" height="240" mozallowfullscreen="" src="https://player.vimeo.com/video/104855449" webkitallowfullscreen="" width="320"></iframe>
<a href="https://vimeo.com/104855449"><br />Tullamol</a> from <a href="https://vimeo.com/dagie">Dagie Brundert</a> on <a href="https://vimeo.com/">Vimeo</a>.</div>
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I write the recipe in the credits at the end of the film. I want people to try it themselves, to have fun and to make some beautiful art. When I give workshops I very often have students that are completely digital … I mean: they grew up with digital devices that made it possible to film at almost no costs. But they yearn for something after a while. Something tactile. Something that really consists of something. I show them. It is contagious!<br />
AK: The Digital Revolution has opened up the World of High Quality, Low Cost filmmaking and photography for a lot of people. It's still relatively expensive to use analogue movie or stills stock and it's also generally a more time-consuming and complicated way of working. So, what's the attraction? What is it that makes the expense and effort worthwhile in the 21st Century?<br />
DB: See question above! It’s a total different approach. A different aesthetic. Do you know about wabi-sabi? That explains a lot! I quote Leonard Koren “Wabi-sabi is the quintessential Japanese aesthetic. It is a beauty of things imperfect, impermanent, and incomplete. It is a beauty of things modest and humble. It is a beauty of things unconventional … It is also two separate words, with related but different meanings. “WABI“ is the kind of perfect beauty that is seemingly-paradoxically caused by just the right kind of imperfection, such as an asymmetry in a ceramic bowl which<br />
reflects the handmade craftsmanship, as opposed to another bowl which is perfect, but soul-less and machine-made. “SABI“ is the kind of beauty that can come only with age, such as the patina on a very old bronze statue.” [Wabi-Sabi: For Artists, Designers, Poets & Philosophers, by Leonard Koren]<br />
… and then I quote myself: “You extend your antennas and begin to notice the subtle beauty that exists in so many banal, imperfect, impermanent and incomplete things and existences. You fill your camera with a super 8 cassette, hide behind the lens, play spy, step on your right track and find it.<br />
Super 8 has the capability of teasing out and capturing the wabi-sabish soul of things and occurences. More than just displaying, picturing one-to-one-wise – it soaks up beauty molecules, cells, souls and spits out beauty grains – simply because Super 8 is magic.”<br />
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AK: What kind of future do you see for analogue creativity in a digital world? We can see analogue-digital hybrid art becoming an interesting new form that filmmakers and artists can experiment with. Is this something you would like to experiment with at some point in the future?<br />
<br />
DB: Take the best from two worlds! Mix! Play! Invent! Why should there be a limit?<br />
<br />
Thank you very much for taking the time to answer our questions, Dagie. :-) x<br />
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<div style="text-align: center;">
<b><a href="https://vimeo.com/dagie" target="_blank">DAGIE BRUNDERT ON VIMEO</a> </b></div>
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<div style="text-align: center;">
<b><a href="https://www.dagiebrundert.de/EDagie.html" target="_blank">DAGIE'S WEBSITE</a></b><br />
<br />
<a href="http://www.wabisabisuper8.com/english.html" target="_blank"><b>WABI-SABI SUPER 8</b></a><br />
<b> </b></div>
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Athene Noctuahttp://www.blogger.com/profile/15138777467179453959noreply@blogger.com0tag:blogger.com,1999:blog-2808512155163057333.post-46666272342594263412018-06-21T02:37:00.000-07:002018-06-21T02:41:41.569-07:00Interview w/ filmmaker, Michael Woods (USA)<div style="text-align: center;">
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<i><b><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: normal;">New York-raised, Los Angeles-based "media terrorist", Michael Woods, studied Film & TV Production at New York University and is now Head of Immersive Media at Studio Arts in LA. He is a Represented Artist at LACDA (Los Angeles Centre for Digital Art) and creates his own work under the banner, Disassociative Productions. He also spends a great deal of his spare time helping the homeless on skid row and campaigning against the Trumpist philosophies of the American Right. We became fully aware of Michael Woods' phenomenal body of work - wild, inventive films which are usually deeply political and always experimental - when he and we had our 60-second silent films included in TUFF (Toronto Urban Film Festival) in 2016.</span></span></b></i><br />
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<b><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: normal;">AK: Who are you? Where did you grow up and where are you now based?</span></span></b></div>
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<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: normal;">MW: My
name is Michael Woods, but for creative purposes I go by M. Woods. I
was born in New York City to a single mom. My mother was born in
Costa Rica; my grandmother being originally from Puerto Limon, Costa
Rica, and my grandfather and his family are from Ambato, Ecuador. I
went to most of grade school and high school in Evanston, IL (where
Northwestern University is located), before returning back to New
York City to attend NYU’s Tisch School of the Arts, majoring in
film production. I’m now based in Los Angeles, where I work, teach,
exhibit, and make my creative work with whatever time I have left.</span></span></div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<b><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: normal;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: normal;">AK: </span></span>Could you give us a brief history of your involvement with creating
work involving still or moving images?</span></span></b></div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: normal;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: normal;">MW: </span></span>As
a kid, I was bullied incessantly from the age of 6, so I used movies
as a sort of retreat/escape. My step-father (who I regard as my
father) introduced me to writers like Edgar Allan Poe and Franz Kafka
at an early age, while also introducing me to <i>2001: A Space Odyssey</i>
at the age of 9. The experience of the Stargate sequence initially
sparked my interest in making films – to recreate the sort of
transcendental experience I did not have the words to express at the
time. I continued a rabid addiction to movies, until I watched
<i>Mulholland Drive</i> at the age of 13. That was the experience that sparked
my pessimism towards motion picture and allowed me to become
conscious of the way in which my personality was an amalgamation of
motion picture simulation. That I did not feel like an authentic
self. The movie communicated to me on a ground I had never
experienced before and may never experience again; but if Lynch pulls
the rug out of the movie, he is similarly attempting to pull the
false reality out from underneath the spectator, so as to direct
their consciousness towards the spectator/spectacle relationship,
while simultaneously drawing the viewer towards a practice of
self-reflection that helps to spark consciousness. </span></span></div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: normal;">Once I was
convinced that this consciousness could be spread through media, I
embarked on a project called <i>The Numb Spiral</i>. The origins of the <i>Numb
Spiral</i> also reflected my state of drug addiction and self-destructive
behaviour. At the age of 15/16, I began to experience bullying that
was so constant and aggressive that I began to drink, smoke
marijuana, abuse prescription pills like Vicodin and Adderall, but
most pathetically, I began to consume cough syrup on an almost daily
basis. The cough syrup in question had only one active ingredient –
Dextromethorphan – which is a disassociative anaesthetic. A
disassociative anaesthetic creates a feeling of total numbness, which
causes the illusion of “out-of-body” experience when taken at
higher doses. Conscious of my own descent into a place divorced from
physical reality, I tried to channel my addiction into a creative
obsession, and as I became clean, I created a “production company”
– essentially a label for all of my films – which would become
Disassociative Productions. The first and only project that
Disassociative Productions has been working on is an art cycle known
as <i>The Numb Spiral</i>. The "Numb Spiral” is a term I use to
describe the parasitic nothingness at the heart of American culture.
This is a nothingness that can be broadcast, ingested, used as the
basis for societal norms and conventions; it is at the heart of
currency, politics, corporate culture, and racial hierarchies. This
corrosive nothingness operates similarly to <i>The Precession of the
Simulacra</i> as illustrated by Baudrillard, the Spectacle as
illustrated by Guy Debord, and is further elucidated in <i>Being and
Nothingness</i> by Sartre. I began using the work of Freud and Jung to
better come to grips with the way in which this nothingness has
evolved to augment the original psychical models they introduced. In
short, the "Numb Spiral” is the moment in which consciousness
falls into Sartrean “Bad Faith”. In this “Bad Faith” model,
nothingness or illusion is taken to be as “real” as the facticity
of physical reality. (Facticity being a term that Sartre coins to
define the ground of physical reality that exists despite and as the
fountain of human existence.) The “Numb Spiral” is the moment in
which human consciousness completely loses that ground, and the super
ego projects an illusion of reality – the individual succumbing to
the heart of hyperreality. In my own experience of this “Numb
Spiral”, a sort of void fills reality that enables consciousness to
posit nothingness over everything, and in doing so the false lure of
completely malleable existence entices the conscious mind. </span></span></div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: normal;">What I
found, however, is that experiences like <i>Mulholland Drive</i> are
able to counteract the hyperreal; media, most importantly motion
picture and immersive media, posit themselves as real when they are
instead falsehoods. They are false representations of reality meant
to force the spectator into a real reaction towards the illusion. In
the work of Lynch, for instance, Lynch uses this construct to build a
formidable illusion, but every one of them begins to fall prey to its
own falsehood. In this way, Lynch is creating consciousness with
motion picture. Just as human beings posit nothingness in order to
allocate themselves as being here in everything, Lynch uses the false
reality of motion picture to point back at its own negative
structure. In doing so, in telling the whole truth through an
artificial construct, Lynch is terrorizing the media. It was with
this in mind that I began using all art to accomplish the same goal;
I am a media terrorist, aimed at exposing the nihilism at the heart
of the artifice, while expressing through it in order to transcend
and reverse the effects of hyperreality. It is a Quixotic quest, and
on my work desk I have small figurines of Don Quixote and Sancho
Panza clearly visible to remind me of my naivete along the way. But
using both digital and analog means allows me to explore the
different dimensions of media; in adopting a hybrid media practice,
I’m able to call upon the nostalgias and memories associated with
different media types/film gauges. While the main thrust of my work
remains the same throughout this 13 year + period of the Numb Spiral,
I experiment with different ways of recording illusions and then
intervening through direct and digital manipulation. At first my work
was not overtly political, but through the past decade I have grown
more aware, especially as a White-passing Latino, of the need to
include racial politics in my work, especially as we continue to
trudge through Trump’s ham-handed hyperreality. Especially Aldo
Tambellini and Spike Lee have driven me to make my politics more
visible. If anything, the politics have started to catch up to my
work, and Trump is now a very fitting backdrop to the sort of
surrealism that pervades my work.</span></span><br />
<br />
<b><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: normal;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: normal;">AK: </span></span>What were the major influences in the arts and in life which
encouraged you to become involved with this field?</span></span></b></div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: normal;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: normal;">MW: </span></span>The
folks above, definitely, but also all of the real avant-gardes: Dada,
Surrealism, Lettrists/Situationists Intl, Hip-Hop. The RZA and J
Dilla, as samplers, are extremely necessary to my work. Wu-Tang Clan
in general has a similar model in hip-hop, theoretically, to what I’m
exploring in motion picture, and I have adopted some elements of
their business plan as well. De Beauvoir, Malcolm X, William S.
Burroughs, Jodorowsky, Deren, Menken, Anger, Bergman, Akerman,
Breillat, Bunuel, Godard, Rivette, etc… numerous obviously, but all
approach their art with a similar set of ethos and politics. My
direct mentors have been Jason Halprin, Fred Worden, Bruce McClure,
Aldo Tambellini, Pipilotti Rist, Lynne Sachs, Marco Williams, and
Darrell Wilson, all of whom have shown me different ways of looking
at motion picture and performance, documentary vs. narrative,
experimental, video art… etc…</span></span></div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
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<b><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: normal;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: normal;">AK: </span></span>What does the word “experimental” mean to you?</span></span></b></div>
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: normal;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: normal;">MW: </span></span>Experimental
to me simply signifies a new way of expressing that has not been
forged before, or at least there is an implication that the
experimenter is taking an uncharted route down a previously explored
path. To work in experimental film does not mean to acknowledge and
hold dear those previously heralded or currently thought of as the
most important. I think the term “experimental” implies
avant-garde, but not in the current configuration of academic
“experimental film.” Academia defined “experimental film” and
the related film festivals often choose work that does not
experiment, but rather re-treads down the same path for the purpose
of fitting in with trends defined by those in power. My work is often
not shown at “experimental” film festivals as a result of it not
fitting the programming – especially as the scene in the United
States celebrates work that is sometimes outright boring. In general,
I do not like Structuralist work, though there are a few artists like
Ernie Gehr, who interest me despite the goals being radically
different from my own. I think the Structuralist movements view
“experimental” in the way a scientist would as opposed to the
brazen artists I am most interested in. When it comes to art, I do
not have time for subtleties anymore, especially as we live in a
world that is so obscene. I find them to be inauthentic and
representative of the bourgeois state of “experimental film.”</span></span><br />
<br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvucIMPj9GmOE1PRumsfnPxcvZHcMvrRpurnyGGukDFNlf9KHLzVNvglmXqoid5vh7OMTt-28lJHvYdpBr5isxbzQj_vp9w5dUPE8JPVLuQKIj4zCmzGmTKnQOLWg0OXJGSsEPJ4x9JDTQ/s1600/Atrocity+Pervert+Megamixxx+8.mov.00_02_13_04.Still015.tif" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1600" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvucIMPj9GmOE1PRumsfnPxcvZHcMvrRpurnyGGukDFNlf9KHLzVNvglmXqoid5vh7OMTt-28lJHvYdpBr5isxbzQj_vp9w5dUPE8JPVLuQKIj4zCmzGmTKnQOLWg0OXJGSsEPJ4x9JDTQ/s320/Atrocity+Pervert+Megamixxx+8.mov.00_02_13_04.Still015.tif" width="320" /></a> </span></span></div>
</div>
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<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<b><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: normal;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: normal;">AK: </span></span>At Avant Kinema we have a particular interest in low budget, DIY or
LoFi forms of creativity. What are your thoughts on films, music,
zines or other artworks created in this way? Is this a way that you
personally like working? </span></span></b></div>
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<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: normal;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: normal;">MW: </span></span>I
do not treat working low-budget or DIY as a badge of honor, but
rather as a necessity. I am not capable of buying or receiving the
same resources as many other “experimental filmmakers” so I’ve
had to draw out my process over the course of a decade. Sometimes
that means not having the money or the wherewithal to process film to
months or years later. Sometimes that means not having the resources
to complete a scene or a movie until years later. I think the plight
of the underground filmmakers, the working filmmakers, those who have
to make work in their free time – because we do not have the
opportunities of our bourgeoisie counterparts – is not something to
celebrate necessarily. It is just the way we have to do things. If
I’m given a budget, I will immediately take the money. I want as
much money as possible. The ideas I have are feature films, ones that
I want shot on 35 & 16mm. I don’t buy the premise that more
money means less creativity. I think we sometimes have a tendency to
use low budget or DIY as a badge of honor. In reality, at least for
me, it is a constant struggle, and if I had the resources that I see
a lot of our bourgeoisie counterparts have, I would be more prolific
and more easily able to put out the work that has otherwise taken me
13 years to bring to fruition. However, the thing that binds us –
those of us bound to create despite these limitations – is an
inherent ingenuity, and an obsession that transcends our financial
situation. Even I, however, recognize that despite living paycheck to
paycheck (if that), I have more resources and more opportunity than
many who remain voiceless because they do not have the wherewithal to
contribute to our art. In that sense, I am a champion for underground
and emerging art, especially from those who share the struggle to
make their work. </span></span>
</div>
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<br /></div>
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<b><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: normal;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: normal;">AK: </span></span>What was your earliest experience of using analogue film, video or
photographic equipment?</span></span></b></div>
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<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: normal;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: normal;">MW: </span></span>My
first experience using analog film was in a Fisher-Price toy 35mm
camera when I was a child, but I began to use it seriously at the age
of 17 when I was an intern at Chicago Filmmakers – which hosts the
Onion City Experimental Film Festival. I learned how to use Super-8
from playing around with an old Elmo Super-8 and that footage served
as the basis for my upcoming feature film, Disneyworld. I was taught
to use 16mm by Jason Halprin, initially, and then at NYU I made my
first 16mm shorts in Joanne Savio’s Sight and Sound Film Class
under the tutelage of Geoffrey Erb, a cinematographer who had worked
on <i>Law & Order</i>. He’s now passed away, but a lot of my
cinematographic tricks come from Geoff. I started on an Arri-S while
I was in school, but soon began working with the school’s Arri-SR,
and I managed to purchase my own Beaulieu R16, and later a Bolex when
the R16 broke. I still shoot 16mm on a nearly daily basis – having
hoarded film when I was eligible for a student discount. I also shoot
super-8 with a Beaulieu 4008 ZMII, which I love. Because I am a film
scanner at my day job, I can scan my own 16mm for free, but super-8
is actually an added expense. In 2013/2014 I began to process my own
film using the facilities at Negativland in Brooklyn, and while I
mostly lab-process my footage these days, I’ll occasionally
bucket-process, especially for Kodak 7363 Hi-Con B&W stock, as it
is quite simple to do so. My favorite film stock is 16mm Ektachrome,
and I’m rapidly depleting my stock, but I am quite happy to do so.
I used to be precious about my film reserves, but I now realize
there’s no time to wait. Just shoot.</span></span></div>
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<br /></div>
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<b><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: normal;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: normal;">AK: </span></span>Where did these initial steps lead?</span></span></b></div>
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<br /></div>
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: normal;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: normal;">MW: </span></span>Because
I began to use 16mm on a regular basis, inevitably I was shooting
more than I was capable of processing or scanning, until I was lucky
enough to land a job as a film scanner. Having cut out that expense,
I was able to transfer a decade’s worth of 16mm in 2016, and that
led to the completion of 16+ short films that were in limbo awaiting
finishing funds. I have four feature films – three of which are in
post-production. All of which mainly use 16mm or super 8 film as the
medium, with 35mm, 2.5K, and other video formats mixed in. The first,
I just released, <i>Dailies from Dumpland</i>, will be premiering in Europe
in October, but this summer I’m looking to complete the next
titles, <i>Commodity Trading: Dies Irae</i> & <i>Disneyworld</i>. The fourth
feature, <i>Melencolia</i>, is the one I’ve been working on the longest,
based on a novel I started writing at 15, and it will be released
sometime in 2019 after 12 years of production. My use of 16mm has
evolved to include a lot of in-camera editing, multiple-exposures and
other effects, and I’ve continued my practice of constantly
changing framerates, usually switching between the extremes of single
frame, 12FPS, and 64 FPS. I use a Blackmagic Cinema Camera for any
scenes requiring sync sound, and by sending letters and a prospectus
I was able to use an Arri 535B Sync 35mm camera for the climax of my
film, Melencolia. In addition, I exercised some stock options from my
time as an Apple retail employee to purchase an Arri 35 IIC camera.
(Once I get some funding, I plan to put that camera to good use.)</span></span></div>
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<br /></div>
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<b><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: normal;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: normal;">AK: </span></span>Did you have any guidance in using this technology or did you work it
all out for yourself?</span></span></b></div>
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<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: normal;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: normal;">MW: </span></span>I
definitely had guidance from some folks as I mentioned above, but
even those who mentored me knew that the only way you learn to shoot
film is to mess up, to learn for yourself, learn your own set of
rules for how to light or work with available light, etc… and so I
feel they guided me to all of the basics, but gave me enough
encouragement to figure out the more important parts on my own. I am
typically a very shy and reluctant person – especially when it
comes to anything that could cost a lot of money – so I needed the
push from these other filmmakers to throw caution to the wind. Now I
shoot with confidence – enough to experiment regularly and push the
limitations of the medium.</span></span></div>
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<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<b><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: normal;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: normal;">AK: </span></span>What was it that drew you to analogue as a creative tool? </span></span></b></div>
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<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: normal;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: normal;">MW: </span></span>Initially
I was drawn to analog because of the false sense of nostalgia I could
evoke, by the ability to change framerates and shutter angle easily,
by the ability to hand-manipulate, decay, age, and otherwise
intervene with the physical medium. There are a few reasons I think
film still handles better than digital – in terms of creating an
illusion of a physical location/experience. The fact that the grain
is three dimensional, despite being so minute in scale, creates a
depth in the shot image that is otherwise not recreated with a
digital sensor. The organic process, the randomization of the grain
as opposed to the grid of pixels, the ability to animate by hand…
all factors in my decision to continue in analog. That being said,
because of limitations in resources, I am not precious about
finishing in analog. I have a few pieces that do, but it does not
make financial sense for me to create prints, IPs/INs etc… and I am
not lucky enough to have ready access to an optical printer or
contact printer. Instead upon scanning in film, I retain many of the
characteristics I’ve described above, but I’m also able to mix
freely, explore editing the film and digital manipulation in a way
that is under-utilized in the world of “experimental film.” There
are some venues that are particularly dogmatic about film, but for me
it is like oil painting is to acrylic. There are uses for both, and I
like to make messy collages.</span></span></div>
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<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<b><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: normal;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: normal;">AK: </span></span>What specific models of analogue equipment / stock do you favour, and
why?</span></span></b></div>
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<br /></div>
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: normal;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: normal;">MW: </span></span>Mentioned
above! But I love the Bolex for its lack of battery and its ability
to simulate a mechanomorphic consciousness. I think of my Bolex as an
extension of myself now. I’ve got a beautil Rex-5 I found for $200,
and it’s my 4/5 Bolex. I really wore out my previous ones. My new
favorite stock – other than Ektachrome – is the Kodak 50D &
250 D, but I still do a lot of multiple exposure work on 500T. I’m
using up the last of my Fuji reserves, which is sad, because Fuji
green/red is a beautiful combo. But I am more than content shooting
on those Kodak stocks. Especially the 50D and 250D seem to have so
many stops of latitude that my multiple exposure experiments come out
just as I imagine them.</span></span><br />
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<br />
<b><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: normal;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: normal;">AK: </span></span>In
what other ways to you experiment with analogue film?</span></span></b></div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: normal;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: normal;">MW: </span></span>One thing I
haven’t spoken on is my hand-manipulation. I use a mixture of
Synchromatic transparent dyes, india inks, scotch tape, acrylics,
liquid acrylics, razor blades, X-acto knives, and bleach. Sometimes
I’ll use other household cleaners to degrade film – Windex and
Ammonia soaked and then washed off and dried. On 16mm and 35mm films
I collage in Super 8 & fragments of 16mm/35mm frames. I’ll use
both motion picture as well as still picture for this practice. The
resultant collage creates several frames with the illusion of motion.
This is seen most prominently in my films <i>Disneyworld</i>, <i>Post-Panoptic
Gazing</i>, and <i>Commodity Trading</i>. Currently I’m working with 120mm
film which I’m scanning in a flatbed scanner – 4-6 frames at a
time – after having directly manipulated the film; I’m collaging
in Aldo Tambellini’s <i>Black TV</i> & <i>Black Plus X</i> – two films he
gifted to me as prints in order to use as collage material for my
upcoming movie <i>Commodity Trading: Dies Irae</i>. I’m using E-6000 glue
to adhere the film. What’s best about that is if you glue super 8
onto 16mm motion picture, it will still project, so long as you’re
careful with the amount of adhesive used. It’s definitely a
difficult and tedious technique, but the results of multiple film
gauges running at once within the frame creates an oscillating effect
between materiality and the illusion that jumps from it. It reminds
me of the shot into the projector gate at the beginning of Bergman’s
<i>Persona</i>. Seeing the material jump to imaginary life and then fall
back into material.</span></span></div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<b><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: normal;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: normal;">AK: </span></span>Have you shared any of your skills in the Analogue Arts with others
through workshops, tutorials or other forms of training? How was this
experience?</span></span></b></div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: normal;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: normal;">MW: </span></span>I
actually wish I could, but whenever I reach out to places in the US
they don’t seem interested in me! Lol. I teach evil digital
moviemaking – Adobe Premiere and Virtual Reality. I’ve never
gotten the opportunity to share my analog stuff!</span></span></div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<b><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: normal;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: normal;">AK: </span></span>You also use digital technologies and processes extensively. Could
you talk us through your involvement with these and how you use them?</span></span></b></div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: normal;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: normal;">MW: </span></span>I
think of the digital as being my new optical printer. I don’t
heavily stack effects or anything like that. I’m not heavy into
compositing, but I still heavily digitally manipulate work. I like to
stick to certain processes – for instance, quick cutting between
multiple lines of action, using blend-modes to pull apart an image
into its positive and negative twin, data moshing and corrupting
files to create keyframe errors (or eliminating the keyframes
altogether), resequencing picture… I often times employ these
methods – almost as if they were employed in a film lab. There’s
a certain automation. For instance, when I data-mosh, I’ll data
mosh an entire movie, then layer that data-moshed movie ontop of its
previous iteration and begin to selectively edit. I take a process
very similar to William S. Burroughs and Francis Bacon. There are
layers and layers of brutal expression. Layers of automation – for
instance datamoshing is an automatic process once you remove the
keyframes or alter the code & similarly layers of
chance/randomness – there’s chance in the destruction of the
elements, there’s a randomness to a certain degree no matter how
well you compose a multiple exposure, or if you bucket-process the
film, the resultant scratches and nicks in the emulsion. Upon
allowing in some chance/randomness/automation, I’ll then edit, to
regain control over the image. And 99% of my work follows this
process. Writing is the same way. Painting is the same way. I never
come out with something that’s just perfect for me. I need to beat
the shit out of my work.</span></span></div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<b><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: normal;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: normal;">AK: </span></span>The Digital Revolution has opened up the World of High Quality, Low
Cost filmmaking and photography for a lot of people. It's still
relatively expensive to use analogue movie or stills stock and it's
also generally a more time-consuming and complicated way of working.
So, what's the attraction? What is it that makes the expense and
effort worthwhile in the 21st Century?</span></span></b></div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: normal;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: normal;">MW: </span></span>Actually,
I disagree. If you factor in the cost of hard drives, and shooting on
a Black Magic Cinema Camera – for digital right now, at least in my
opinion, there’s really one viable option. Shooting RAW. And RAW is
huge!! So even in the digital space there’s a lot of expense. I go
through hard drives in no time. With film, I’m more economical. The
restriction of the roll forces me to think about what I want to
shoot, and the juxtapositions on the roll serve as my in-camera
edits. I don’t have as much room for error and it’s like my brain
kicks in. If you’re driving in a video game, you tend to make more
mistakes than when you know your life is on the line. Now I cannot
understate the privilege I have of access to a film scanner. The film
scanner has changed my entire work. It is the sole reason many people
know who I am now, or know any of my work. I had no way to scan
thousands of feet of 16mm. So, mind you, I’m coming from the
perspective of a person who can get film scanned for free. But beyond
that, I really do think good quality digital is ridiculously
expensive. (I use my iphone, of course, but with the intention of
compromising the quality or using it for still-image stop motion and
the like. Truth is, I still feel I have more control over the image I
create in analog than in the RAW digital capture.)</span></span><br />
<br />
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<br />
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: normal;"> </span></span><b><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: normal;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: normal;">AK: </span></span>What kind of future do you see for analogue creativity in a digital
world? We can see analogue-digital hybrid art becoming an interesting
new form that filmmakers and artists can experiment with. Is this
something you like to do with your own work?</span></span></b></div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: normal;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: normal;">MW: </span></span>For
this I have to shout out to my good friend, Karissa Hahn. Karissa
shoots analog films with digital subjects and finishes analog
typically. I shoot analog and digital hybrids trying to arrive at an
organic reality, and often depicting mechanomorphic and digital
degradation, which is then matched by my process of
automation/randomness/corruption/brutal re-ordering. I think we have
complimentary processes in that way. I think the truth is we live in
a hybrid world. Digital will always have to negotiate the
analog/organic, and the analog/organic is too tedious for humans to
replicate as material, so digital has its benefits in simplifying and
codifying the infinitude of our being. Both are fatally flawed –
and in that way both represent characteristics of human
consciousness. Both methods degrade no matter what. The analog is
needed, however, as a foil for the ever-digital world. The objecthood
of an analog piece is a statement – although sometimes a nostalgic
one – against the infinite serialization of the digital “object”.
I think these are like oil and acrylic, though their DNA is slightly
more complicated; but I use them for their strengths, I exploit their
weaknesses, and then I try to manipulate my audience based on their
aesthetic/emotional attachments to various media. We all have an
individualized understanding of what it is to be experiencing super 8
or 16mm or 35mm, though many folks cannot verbalize it – and many
cannot even perceive the difference. But I do believe there is an
unconscious connection we have to these varieties of motion picture,
and, for those of us who shoot, we begin to see the nuances of
cameras, lenses, stock choice, etc… In the end, I want as many
tools at my disposal as possible. If I’m dirt broke and all I have
is an iphone I’ll use that, but, for instance, if I want to create
an all-encompassing illusion, with a density to it, with the
perception of “being there” in the film, I’m going to go for
35mm or 16mm. If I wanna shoot all day without worrying too much
about cost, digital is the happy medium. And it’s so much easier to
record sync sound to. Super-8 gives me a tool for playing with
nostalgia, placing an illusion out of a contemporary context; the
ability to wear it down. But, in conclusion, the medium itself is of
no matter. It’s the main thrust of the piece that chooses the
medium for me, and all of those aesthetic considerations are taken
into account based on a wholistic approach to the work and the
thematic/philosophical underpinnings that have brought it forth in my
consciousness. Beyond that, the medium coordinates with the meaning,
and it is through that symbiosis that I create. I never make
aesthetic considerations above thematical/theoretical decisions. They
should happen in tandem. For better or for worse, a tree or flower
does not grow the way it does for its own aesthetic admiration. It
grows as part of its function; in the same way I view art as a
process reflective of the innate function; without the function,
there’s no point to discussing the medium or the aesthetic tools
used. </span></span></div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: normal;"><b><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: normal;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: normal;">AK: </span></span>Thank you very much, Michael, for taking the time to answer our questions.</span></span></b></span></span><br />
<br />
<div style="text-align: center;">
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: normal;"><b><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: normal;"><a href="https://vimeo.com/mwoods" target="_blank">M. WOODS ON VIMEO</a> </span></span></b></span></span></div>
<br />
<div style="text-align: center;">
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: normal;"><b><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: normal;"><a href="http://disamedia.squarespace.com/" target="_blank">DISASSOCIATIVE PRODUCTIONS</a> </span></span></b></span></span></div>
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: normal;"><b><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: normal;"> </span></span></b> </span></span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<style type="text/css">P { margin-bottom: 0.21cm; }</style>Athene Noctuahttp://www.blogger.com/profile/15138777467179453959noreply@blogger.com1tag:blogger.com,1999:blog-2808512155163057333.post-87292357690955620532018-06-08T07:04:00.000-07:002018-06-08T07:04:02.075-07:00Interview w/ filmmakers, Daniel Fawcett & Clara Pais (England/Portugal)<span style="font-size: normal;"><br /></span>
<br />
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<span style="font-size: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh350EnYRJWgsfoYIL6i3NWp8HNXl8WEiIwNGtlDPhzKxPdY19frWAUnvM8wvOoqtFJcvAoUn4NuwTx_qcqq7lSD6fyZxJmz5MOy1ML3wFnmPaHYDel4t62HmNQDjg_iWZLkOQT25_UnZy6/s1600/07_Studio+Diary+%25282018%2529.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1600" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh350EnYRJWgsfoYIL6i3NWp8HNXl8WEiIwNGtlDPhzKxPdY19frWAUnvM8wvOoqtFJcvAoUn4NuwTx_qcqq7lSD6fyZxJmz5MOy1ML3wFnmPaHYDel4t62HmNQDjg_iWZLkOQT25_UnZy6/s400/07_Studio+Diary+%25282018%2529.png" width="400" /> </a></span></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-size: normal;">Studio Diary (2018) </span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="color: black;"><span style="font-family: trebuchet ms, sans-serif;"><span style="font-size: small;"><br />As
part of a series of interviews and articles on processes of Creative
Collaboration, we spoke to our friends<span style="color: #1d2129;"><span style="font-family: Trebuchet MS, sans-serif;"><span style="background: #ffffff;">,
Daniel Fawcett and Clara Pais, who create lavish, startling,
dreamlike, unsettling, wonderful feature films and shorts under the
banner of The Underground Film Studio. The duo are also behind </span></span></span><span style="color: #1d2129;"><span style="font-family: Trebuchet MS, sans-serif;"><i><span style="background: #ffffff;">Film
Panic</span></i></span></span><span style="color: #1d2129;"><span style="font-family: Trebuchet MS, sans-serif;"><span style="background: #ffffff;">
zine, the definitive journal of contemporary underground and
experimental cinema.</span></span></span></span></span></span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<div class="western" style="margin-bottom: 0.17cm; margin-top: 0.17cm;">
<span style="color: #1d2129;"><span style="font-family: Trebuchet MS, sans-serif;"><span style="font-size: small;"><span style="font-style: normal;"><span style="font-weight: normal;"><span style="background: #ffffff;">Clara
and Daniel are two of the most industrious, creative, innovative,
genuine and generous people we know. We had the pleasure of first
meeting them in February 2017 when they invited us to screen our
short film, </span></span></span></span></span></span><span style="color: #1d2129;"><span style="font-family: Trebuchet MS, sans-serif;"><span style="font-size: small;"><i><span style="font-weight: normal;"><span style="background: #ffffff;">Orphine</span></span></i></span></span></span><span style="color: #1d2129;"><span style="font-family: Trebuchet MS, sans-serif;"><span style="font-size: small;"><span style="font-style: normal;"><span style="font-weight: normal;"><span style="background: #ffffff;">
(2014), in the beautiful city of Porto in Northern Portugal. They
were perfect hosts for the three days we visited with our son,
helping find us free accommodation, showing us all around Porto, Gaia
and the seaside town of Espinho where we collaborated on an impromptu
Surrealist black & white Super 8 film, starring Daniel and Clara,
which we entitled, </span></span></span></span></span></span><span style="color: #1d2129;"><span style="font-family: Trebuchet MS, sans-serif;"><span style="font-size: small;"><i><span style="font-weight: normal;"><span style="background: #ffffff;">In
The Arbor of the Bitter Orange</span></span></i></span></span></span><span style="color: #1d2129;"><span style="font-family: Trebuchet MS, sans-serif;"><span style="font-size: small;"><span style="font-style: normal;"><span style="font-weight: normal;"><span style="background: #ffffff;">
(2017).</span></span></span></span></span></span></div>
<div class="western" style="font-style: normal; font-weight: normal; margin-bottom: 0.17cm; margin-top: 0.17cm;">
<span style="color: #1d2129;"><span style="font-family: Trebuchet MS, sans-serif;"><span style="font-size: small;"><span style="background: #ffffff;">Soon
afterwards, Clara and Daniel came over to the UK for a short
British-wide tour to promote their films. All four of us put on an
event, <i>MoonMoths at the MacArts Church</i>, in Galashiels, an
Avant Kinema / Film Panic co-production, which featured experimental
short films, comedy and music, plus a special screening of Daniel and
Clara's first collaboration, the feature <i>Savage Witches</i>
(2012). A couple of days later we put on a double bill screening of
work by all four of us at Edinburgh's Vegan-friendly arts cafe, The
Forest.</span></span></span></span></div>
<div class="western" style="font-style: normal; font-weight: normal; margin-bottom: 0.17cm; margin-top: 0.17cm;">
<span style="color: #1d2129;"><span style="font-family: Trebuchet MS, sans-serif;"><span style="font-size: small;"><span style="background: #ffffff;">Being
life-long aficionados of the art of collaboration we thought that
Daniel Fawcett and Clara Pais would be ideal subjects for our
investigations into <span style="color: black;"><span style="font-family: trebuchet ms, sans-serif;">Creative
Collaboration.</span></span> </span></span></span></span>
</div>
<span style="color: black; font-size: normal;"><span style="font-family: "myriad pro";"><span style="font-size: normal;"><span style="color: black; font-size: normal;"><span style="font-family: "myriad pro";"><span style="font-size: normal;"><style type="text/css">P { margin-bottom: 0.21</style></span></span></span></span></span></span><br />
<span style="color: black; font-size: normal;"><span style="font-family: "myriad pro";"><span style="font-size: normal;"><span style="color: black; font-size: normal;"><span style="font-family: "myriad pro";"><span style="font-size: normal;"><style type="text/css"> </style></span></span></span></span></span></span><br />
<span style="color: black; font-size: normal;"><span style="font-family: "myriad pro";"><span style="font-size: normal;"><span style="color: black; font-size: normal;"><span style="font-family: "myriad pro";"><span style="font-size: normal;"><style type="text/css"> </style></span></span></span><b><u><br />INTRODUCTION: Become Who You Are</u></b></span></span></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="color: black; font-size: normal;"><span style="font-family: "myriad pro";"><span style="font-size: normal;"><b><u> </u> </b></span></span></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="color: black; font-size: normal;"><span style="font-family: "myriad pro";"><span style="font-size: normal;">AVANT KINEMA: Daniel and Clara: let's pretend for a few minutes that we've never met. Would you start
by introducing yourself? Could you give us a brief introduction to
who you are, where you grew up and where you are now? </span></span></span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-size: normal;"><br /></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="color: black; font-size: normal;"><span style="font-family: "myriad pro";"><span style="font-size: normal;">DANIEL:
I was in born in 1982 in a village called Layer De La Haye in Essex.
I grew up in a wonderful and mysterious 500 year old cottage that
stood on the grounds of a large house which my dad worked for as a
gardener. My childhood was spent running around in the countryside
making tree houses, birdwatching and creating fantasies about goblins
and ghosts. I started making films in my mid-teens shooting at first
on Hi8 and VHS cameras, creating personal poetic explorations
inspired by painting and also playful films with friends of dressing
up and improvised play. In many ways I am doing exactly the same
thing now as I was twenty years ago! I've made 8 feature length films
and around 100 short films, and since 2011 I have been working in a
collaboration with Clara Pais under the banner of The Underground
Film Studio where we produce films, performances, video installations
and a magazine. We work as two halves of one artist and to understand
our work it must be considered in this light, as manifesting both
from us as individuals but also from that mysterious third being that
is formed within the space between us.</span></span></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-size: normal;"><br /></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="color: black; font-size: normal;"><span style="font-family: "myriad pro";"><span style="font-size: normal;">CLARA:
As a child, my favourite things were drawing, reading mythology and
watching movies. Everyone in my family loved cinema and attached
particular significance to the </span></span></span><span style="color: black; font-size: normal;"><span style="font-family: "myriad pro";"><span style="font-size: normal;"><span style="background: transparent;">act
of watching movies, but I probably drove everyone mad with my movie
obsession, I feel like I used to have films playing at home all the
time, and I'd be singing the songs and reciting the lines along with
the movie, I was possessed by cinema! I was introduced to many films
by my brother, who is 9 years older, and by age 10 I was a big fan of
Hitchcock films, especially </span></span></span></span><span style="color: black; font-size: normal;"><span style="font-family: "myriad pro";"><span style="font-size: normal;"><i><span style="background: transparent;">Rear
Window</span></i></span></span></span><span style="color: black; font-size: normal;"><span style="font-family: "myriad pro";"><span style="font-size: normal;"><span style="background: transparent;">
and </span></span></span></span><span style="color: black; font-size: normal;"><span style="font-family: "myriad pro";"><span style="font-size: normal;"><i><span style="background: transparent;">Shadow
of a Doubt</span></i></span></span></span><span style="color: black; font-size: normal;"><span style="font-family: "myriad pro";"><span style="font-size: normal;"><span style="background: transparent;">.
We had a Hi8 camera that I used to snatch away from my brother on
holidays and weekends, I liked looking at things through it and
played with it all the time. I never thought about editing then, it
was only about looking, and sometimes performing with my cousins and
friends. I was born in Porto, a city in the north of Portugal that
sits between the river Douro and the sea. It's a very atmospheric
place, very rainy and misty in winter, there is a feeling of
ancientness there and the weight of countless generations toiling
next to the river. Portugal's history is very much related to the sea
as well, tinged always with a certain wistfulness but full of stories
of sea adventures, worldwide exploration and terrifying encounters
with monsters and giants. I always felt the pull to leave and
explore, so when I was 18 I moved to the UK to study cinema.</span></span></span></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-size: normal;"><br /></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="color: black; font-size: normal;"><span style="font-family: "myriad pro";"><span style="font-size: normal;"><span style="color: black;"><span style="font-family: "myriad pro";"><span style="font-size: normal;">AVANT KINEMA: </span></span></span>What were the major influences in the arts and in life which led to
your desire to make films? </span></span></span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-size: normal;"><br /></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="color: black; font-size: normal;"><span style="font-family: "myriad pro";"><span style="font-size: normal;">DANIEL:
I have two uncles who are artists and from a young age they taught me
about art history and painting techniques. As a child I wanted to
become a special FX artist and to create masks and monsters for
movies, then in my teens I wanted to be a painter but when I was
around 15 one of my uncles showed me Derek Jarman's film </span></span></span><span style="color: black; font-size: normal;"><span style="font-family: "myriad pro";"><span style="font-size: normal;"><i>The
Garden</i></span></span></span><span style="color: black; font-size: normal;"><span style="font-family: "myriad pro";"><span style="font-size: normal;">
(1991) and by the time it was over everything had changed, I knew I
wanted to make my own films, to create my very own personal universe
within the magical dimension of cinema. Before seeing Jarman's films
I didn't realise cinema was an art-form but once I understood that my
path in life was set!</span></span></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-size: normal;"><br /></span></div>
<div class="western" style="background: transparent; margin-bottom: 0cm;">
<span style="color: black; font-size: normal;"><span style="font-family: "myriad pro";"><span style="font-size: normal;">CLARA: I
was about 13 when it suddenly dawned on me that I could become a
filmmaker, I was in the backseat of the car with my parents as we
were driving back home one evening from the cinema and I remember
that moment as nothing less than a totally overwhelming and ecstatic
revelati</span></span></span><span style="color: black; font-size: normal;"><span style="font-family: "myriad pro";"><span style="font-size: normal;"><span style="background: transparent;">on,
as if my lif</span></span></span></span><span style="color: black; font-size: normal;"><span style="font-family: "myriad pro";"><span style="font-size: normal;">e
opened up before me. I didn't know what kind of films I wanted to
make, I didn't think of it that way then, I just wanted to learn how
it was all create</span></span></span><span style="color: black; font-size: normal;"><span style="font-family: "myriad pro";"><span style="font-size: normal;"><span style="background: transparent;">d.
I watched the 10-hour </span></span></span></span><span style="color: black; font-size: normal;"><span style="font-family: "myriad pro";"><span style="font-size: normal;"><i><span style="background: transparent;">The
Lord of The Rings </span></i></span></span></span><span style="color: black; font-size: normal;"><span style="font-family: "myriad pro";"><span style="font-size: normal;"><span style="background: transparent;">making
of documentary</span></span></span></span><span style="color: black; font-size: normal;"><span style="font-family: "myriad pro";"><span style="font-size: normal;"><i><span style="background: transparent;">
</span></i></span></span></span><span style="color: black; font-size: normal;"><span style="font-family: "myriad pro";"><span style="font-size: normal;"><span style="font-style: normal;"><span style="background: transparent;">several
times</span></span></span></span></span><span style="color: black; font-size: normal;"><span style="font-family: "myriad pro";"><span style="font-size: normal;"><span style="background: transparent;">
and I also watched the </span></span></span></span><span style="color: black; font-size: normal;"><span style="font-family: "myriad pro";"><span style="font-size: normal;"><i><span style="background: transparent;">Heart
of Darkness</span></i></span></span></span><span style="color: black; font-size: normal;"><span style="font-family: "myriad pro";"><span style="font-size: normal;"><span style="background: transparent;">
documentary about the making of </span></span></span></span><span style="color: black; font-size: normal;"><span style="font-family: "myriad pro";"><span style="font-size: normal;"><i>Apocalypse
Now</i></span></span></span><span style="color: black; font-size: normal;"><span style="font-family: "myriad pro";"><span style="font-size: normal;">
many times before I even watched the film, that's how I started
learning about filmmaking. But the greatest influences in my early
teens came from reading books, I was especially impressed by </span></span></span><span style="color: black; font-size: normal;"><span style="font-family: "myriad pro";"><span style="font-size: normal;"><i>Robinson
Crusoe</i></span></span></span><span style="color: black; font-size: normal;"><span style="font-family: "myriad pro";"><span style="font-size: normal;">,
Tolkien's </span></span></span><span style="color: black; font-size: normal;"><span style="font-family: "myriad pro";"><span style="font-size: normal;"><i>Silmarillion</i></span></span></span><span style="color: black; font-size: normal;"><span style="font-family: "myriad pro";"><span style="font-size: normal;">
and Oscar Wilde's </span></span></span><span style="color: black; font-size: normal;"><span style="font-family: "myriad pro";"><span style="font-size: normal;"><i>The
Portrait of Dorian Gray</i></span></span></span><span style="color: black; font-size: normal;"><span style="font-family: "myriad pro";"><span style="font-size: normal;">,
and I was deeply fascinated by Virginia Woolf's wri</span></span></span><span style="color: black; font-size: normal;"><span style="font-family: "myriad pro";"><span style="font-size: normal;"><span style="background: transparent;">tings.</span></span></span></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-size: normal;"><br /></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="color: black; font-size: normal;"><span style="font-family: "myriad pro";"><span style="font-size: normal;"><span style="color: black;"><span style="font-family: "myriad pro";"><span style="font-size: normal;">AVANT KINEMA: </span></span></span>What was it that gave you the confidence to try it out for yourself?</span></span></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-size: normal;"><br /></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="color: black; font-size: normal;"><span style="font-family: "myriad pro";"><span style="font-size: normal;">DANIEL:
For me this was never something I thought about, I lacked confidence
in a lot of areas but making art was always the one thing I never
hesitated at, I felt that it belonged to me and that if I wanted to
make art I could and I just needed to get on with it. I knew that not
having technical skills was only a matter of discipline and practice
that came over time. I think this attitude was helped by growing up
around artists and creative people, most of my family, myself
included, suffered all the way through school, I failed every single
GCSE exam and was bullied every day of primary and secondary school,
but outside of school my life was very rich with activity and
interesting people. Everyone in my family has hobbies of one sort or
another, we are all amateurs, so this attitude of following your
interests and simply giving things a go was passed on to me.</span></span></span><br />
<br />
<span style="color: black; font-size: normal;"><span style="font-family: "myriad pro";"><span style="font-size: normal;">CLARA:
My feeling about making films was so strong that I didn't really
consider any other options. I just had to find my way step by step,
and even though I often felt so inadequate and in the dark about what
I was doing I took that as a good sign because I felt very strongly
that life is a unique path for everyone and should always be an
exploration. If you hesitate or back down because you're afraid you
only rob yourself of the opportunity to make it happen, it all
depends on you. I was also very lucky to have parents who never tried
to impose on me or tell me what I should be doing, they always
encouraged me to follow my own path and tried to help me as much as
they could, even if they were unsure themselves.</span></span></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-size: normal;"><br /></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="color: black; font-size: normal;"><span style="font-family: "myriad pro";"><span style="font-size: normal;"><span style="color: black;"><span style="font-family: "myriad pro";"><span style="font-size: normal;">AVANT KINEMA: </span></span></span>What were your first experiences of working with filmmaking
equipment?</span></span></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-size: normal;"><br /></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="color: black; font-size: normal;"><span style="font-family: "myriad pro";"><span style="font-size: normal;">DANIEL:
My earliest experiments can be divided into two groups: visual
experimentation and performance films. Very early on I became excited
by the painterly qualities of video, in fact this is still present in
everything I am doing even to this day, so from the beginning I was
experimenting with ways to create interesting colour and texture with
the equipment. One thing I found was that by transferring the footage
from Hi8 tapes to VHS and copying it several times I could create
beautiful unexpected colours and textures. I also played around with
re-filming footage played through the TV. The performance films were
often about creating costumes from junk and old clothes and
improvising stream of consciousness dialogue and poetry or playing
absurdist characters.</span></span></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-size: normal;"><br /></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="color: black; font-size: normal;"><span style="font-family: "myriad pro";"><span style="font-size: normal;">CLARA:
For years all I had was the Hi8 camera and my filmmaking was very
loose, any kind of “special event” was an opportunity for filming
and I often got lost in a reverie just looking through the camera and
feeling my perception and sense of space change by the lens.</span></span></span><span style="color: black; font-size: normal;"><span style="font-family: "myriad pro";"><span style="font-size: normal;"><span style="background: transparent;">
I'd then just plug the camera into the TV and watch back usually by
myself, no one else was that interested. Sometimes I'd shoot
something more like r</span></span></span></span><span style="color: black; font-size: normal;"><span style="font-family: "myriad pro";"><span style="font-size: normal;">eportage
style with some special editing formula done in camera, like starting
and stopping very quickly to create single portraits of everyone and
everything involved in that moment, things like that. Sometimes we'd
do reenactments, fictions and puppet shows involving family and
friends. I also used to record spoken plays that I invented on my
tape recorder, by myself or with my cousins, but I never put the
images and the sound together until much later. </span></span></span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-size: normal;"><br /></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="color: black; font-size: normal;"><span style="font-family: "myriad pro";"><span style="font-size: normal;"><span style="color: black;"><span style="font-family: "myriad pro";"><span style="font-size: normal;">AVANT KINEMA: </span></span></span>How did you go about editing those first fledgling attempts at
creating moving image artworks?</span></span></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-size: normal;"><br /></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="color: black; font-size: normal;"><span style="font-family: "myriad pro";"><span style="font-size: normal;">DANIEL:
Most of my first films were edited in camera, I did do some very
primitive editing by recording to VHS tapes, stoping and starting it
to insert shots but I was never that happy with how it turned out. I
only really got involved with editing several years later when I got
my first Mini-DV camera and that started a whole new phase of
experiments and exploration.</span></span></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-size: normal;"><br /></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="color: black; font-size: normal;"><span style="font-family: "myriad pro";"><span style="font-size: normal;">CLARA:
At this time I didn't really see any of this as creating single works
necessarily to be watched later so I guess that's why I wasn't very
involved in editing, or only the most minimal kind, of following a
chain of thoughts and events through images. It was all about the
filming in the moment, how the act of filming made that moment more
special for me, more fun or more meaningful.</span></span></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-size: normal;"><br /></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="color: black; font-size: normal;"><span style="font-family: "myriad pro";"><span style="font-size: normal;"><span style="color: black;"><span style="font-family: "myriad pro";"><span style="font-size: normal;">AVANT KINEMA: </span></span></span>Where and how did you learn the crafts needed to create your films?</span></span></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-size: normal;"><br /></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: "myriad pro"; font-size: normal;"><span style="font-size: normal;">DANIEL:
It all came by hitting record on the camera and seeing what happens.
Lack of access to professional technology was a benefit, I had one
Hi8 camera, a </span></span><span style="font-family: "myriad pro"; font-size: normal;"><span style="font-size: normal;"><span style="background: transparent;">VCR</span></span></span><span style="font-family: "myriad pro"; font-size: normal;"><span style="font-size: normal;">,
a cassette recorder/player and a TV and that was it, so anything I
wanted to do had to be created with those tools. My first 50 or so
films were made on this equipment, I think the main thing I learnt
from this was how to turn limitations into tools and creative
opportunities. The most exciting and interesting things seemed to
happen when things didn't go to plan!</span></span><br />
<br />
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<div class="separator" style="clear: both; text-align: center;">
<span style="font-size: normal;">Studio Diary (2018) </span></div>
<br />
<span style="font-family: "myriad pro"; font-size: normal;"><span style="font-size: normal;"> CLARA:</span></span><span style="color: black; font-size: normal;"><span style="font-family: "myriad pro";"><span style="font-size: normal;">
When I was 15</span></span></span><span style="font-family: "myriad pro"; font-size: normal;"><span style="font-size: normal;">
I went to a school that was dedicated to the arts, it was the first
time that art making became real to me and it immediately made sense,
I felt relieved to discover a framework for what I felt I needed to
be doing. It might sound absurd but even though I was exposed to
painting and arts a lot, the actual processes and the craft and
thinking behind art making was a mystery to me, I didn't know anyone
who was a real artist, so all that I knew came from what I read in
books. But going to this school was the best thing I could've done,
besides learning the basics of filmmaking, I got to try out various
crafts like ce</span></span><span style="font-family: "myriad pro"; font-size: normal;"><span style="font-size: normal;"><span style="background: transparent;">ramics,
screen-printing and </span></span></span><span style="font-family: "myriad pro"; font-size: normal;"><span style="font-size: normal;">photography,
and also did drawing and learned about art history and philosophy,
and just generally was encouraged to think about art 100% of the time
and to consider everything in my life as part of my art. This
experi</span></span><span style="font-family: "myriad pro"; font-size: normal;"><span style="font-size: normal;"><span style="background: transparent;">ence
was a great period of incubation and developing my foundations as an
artist. Cinema became just like one of the arts, I never just think
of it in the context of cinema itself but in the context of the whole
of art history, and everything that is possible to explore in other
mediums can be possible for cinema too.</span></span></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-size: normal;"><br /></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: "myriad pro"; font-size: normal;"><span style="font-size: normal;"><br /></span></span><span style="font-size: normal;"><u><span style="font-family: "myriad pro";"><span style="font-size: normal;"><b>COLLABORATION</b></span></span></u></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-size: normal;"><br /></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: "myriad pro"; font-size: normal;"><span style="font-size: normal;"><span style="color: black;"><span style="font-family: "myriad pro";"><span style="font-size: normal;">AVANT KINEMA: </span></span></span>What does the word “collaboration” mean to you?</span></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-size: normal;"><br /></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: "myriad pro"; font-size: normal;"><span style="font-size: normal;">DANIEL
& CLARA: Collaboration is about reaching beyond yourself, it is a
way of creating that is about surrendering to something bigger than
oneself while simultaneously serving your individual creative needs.
A successful collaboration both serves the best in yourself and pulls
you beyond your ego, it can have the effect of opening doors within
yourself that you may never have accessed if working alone. A good
collaboration creates a third space that is neither you or the other
but both combined, as all our work is made as a collaboration we
surrender to this mysterious third state and this is often why we
refer to ourselves as two halves of a single artist.</span></span><br />
<br />
<span style="font-family: "myriad pro"; font-size: normal;"><span style="font-size: normal;"><span style="color: black;"><span style="font-family: "myriad pro";"><span style="font-size: normal;">AVANT KINEMA: </span></span></span>What were your earliest creative collaborations as individuals, and
what did these involve?</span></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-size: normal;"><br /></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: "myriad pro"; font-size: normal;"><span style="font-size: normal;">DANIEL:
When I was in my last year of primary school my friends and I became
obsessed with horror films, we watched </span></span><span style="font-family: "myriad pro"; font-size: normal;"><span style="font-size: normal;"><i>Child's
Play</i></span></span><span style="font-family: "myriad pro"; font-size: normal;"><span style="font-size: normal;">,
</span></span><span style="font-family: "myriad pro"; font-size: normal;"><span style="font-size: normal;"><i>Nightmare On
Elm Street</i></span></span><span style="font-family: "myriad pro"; font-size: normal;"><span style="font-size: normal;"> and
</span></span><span style="font-family: "myriad pro"; font-size: normal;"><span style="font-size: normal;"><i>Halloween </i></span></span><span style="font-family: "myriad pro"; font-size: normal;"><span style="font-size: normal;"><span style="font-style: normal;">and</span></span></span><span style="font-family: "myriad pro"; font-size: normal;"><span style="font-size: normal;">
even though I was absolutely terrified by these films I was also
really excited by them and desperately wanted to make my own horror
films. So I got together with my friends and we set about creating a
film that was an amalgamation of bits of existing horror movie plots,
mostly of films we hadn't seen but we lifted the details from the
synopsis on the back of the VHS box at the local video shop. We then
spent a day at the woods acting it out, going through it scene by
scene. I was the camera man and my four friends were in it. It was a
story of a serial killer who died and was buried under an old oak
tree and his spirit possessed the bodies of two lovers who kissed
under the tree. It was great fun running around the woods with a
kitchen knife, screaming and shouting in terror and passionately
talking through every dramatic moment: the possession, the first
murder, the chase and the kiss! The only downside was that we didn't
actually have a video camera so even though the film existed for
those moments it has now been lost to time and lingers only as a
memory! But this was my first experience of a moment when childhood
play became a creative project, it was incredibly exciting to me, the
first time I had the feeling that by joining together with friends on
a joint project we could really make something happen. That
excitement of collaborating, getting a gang of friends together and
playing at making movies has never left me.</span></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-size: normal;"><br /></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: "myriad pro"; font-size: normal;"><span style="font-size: normal;"><span style="background: transparent;">CLARA:
In my final year of mid-school we had about 6 hours a week where we
could work on a group project about any subject we chose, at the end
of the year we would present these projects to the class. So my
friend Ana and I gathered a couple of friends together and convinced
the teacher to let us make a film, what we thought was going to be a
grand comical exposé of the blurred line between fact and fiction
inherent in films and TV, starring everyone in the group. We had the
best time for the first couple of months writing the scenes and
dialogue, we had great laughs and great arguments and enjoyed every
minute of it, it was like payoff for all the hours we had to spend
sitting on those same terribly uncomfortable chairs, bored, but now
we were having fun. </span></span></span><span style="font-family: "myriad pro"; font-size: normal;"><span style="font-size: normal;">We
shot on location in the area where we lived and then some scenes at
each of our houses, everyone got to do both camera and acting. The
scenes included news style reports of events that happened in other
movies, cut with our own version of advertisements with a surrealist
turn, and reenactments of scenes in movies like </span></span><span style="font-family: "myriad pro"; font-size: normal;"><span style="font-size: normal;"><i>Jaws</i></span></span><span style="font-family: "myriad pro"; font-size: normal;"><span style="font-size: normal;">
with one of us acting like the shark and explaining to the terrified
victims that sharks wouldn't act like that, and other such things. It
was very silly but we had a lot of fun. Everything was shot on a Hi8
camera, I had some editing software with which I could capture the
footage and edit, but I think it was the first time I did that. I
can't remember what that software was called, it was very hard to
make sense of it and difficult to make precise cuts, we ended up
having to reshoot some things so they could be edited in camera and
included directly into the main timeline. I think the software
struggled as much with me as I did with it because in the end the
whole thing crashed and I lost all of my edit.</span></span><span style="font-family: "myriad pro"; font-size: normal;"><span style="font-size: normal;"><span style="background: transparent;">
It was devastating, I cried all night! I</span></span></span><span style="font-family: "myriad pro"; font-size: normal;"><span style="font-size: normal;">
couldn't believe that could happen right near our deadline after all
that work – but that's filmmaking! In the end it was all good
because we'd had such a great time doing it and we knew it all by
heart, so for our presentation we just described to everyone what the
film would have been like, performing bits of the script for them as
live scenes. I think the tapes with all the footage must still be
somewhere, but I haven't seen them for many years.</span></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-size: normal;"><br /></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: "myriad pro"; font-size: normal;"><span style="font-size: normal;"><span style="color: black;"><span style="font-family: "myriad pro";"><span style="font-size: normal;">AVANT KINEMA: </span></span></span>Were these mostly positive experiences? Were all parties involved
happy with the results, or were there negative aspects to any of
these ventures?</span></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-size: normal;"><br /></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: "myriad pro"; font-size: normal;"><span style="font-size: normal;">DANIEL
&</span></span><span style="font-family: "myriad pro"; font-size: normal;"><span style="font-size: normal;"><span style="font-weight: normal;">
CLARA:</span></span></span><span style="font-family: "myriad pro"; font-size: normal;"><span style="font-size: normal;">
We've experienced all manner of collaborations over the years, some
major personal conflicts as well as the most joyous harmonious
collaborations. In general the negative experiences have been when
there is a lack of clear communication or when one party has
expectations of the other which are different. Over time though we've
learnt about what works for us and what doesn't, there are certain
things we expect from our collaborators and we try to only work with
people who can offer that. Also when we participate in someone else's
project we will only agree to do it if we know we can give them what
they need, and also if they can give us what we need to be able to do
a good job. Communication and trust are essential. To take part in
someone else's project requires total surrender to their creative
process, this is not always easy, people have different creative
processes, different timings and different ideas about what they want
to achieve. We would never want to become a hindrance to someone
else's creativity or let them down, or waste our time and energy on
something that we don't believe in. But if we say yes to taking part
in something then we give ourselves entirely to it and for this
reason we only work with artists whose work we admire and who we
trust. Maybe a certain project might help our career or give us some
money, but we can't operate like that, we want to spend our time
working on things we truly believe in surrounded by people who we
respect and are inspired by.</span></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-size: normal;"><br /></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: "myriad pro"; font-size: normal;"><span style="font-size: normal;"><span style="color: black;"><span style="font-family: "myriad pro";"><span style="font-size: normal;">AVANT KINEMA: </span></span></span>Which collaborative projects, in film or the wider arts, by the
filmmakers and artists you admire, do you see as influential on your
own collaborative practices? In what ways? </span></span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-size: normal;"><br /></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: "myriad pro"; font-size: normal;"><span style="font-size: normal;">DANIEL
& CLARA: Derek Jarman is certainly one of our guiding lights. His
approach to collaboration was amazing, he'd get everybody involved
and manage to make completely uncompromising works of art that
clearly come from his personal vision but at the same time he'd
create an atmosphere where everyone would have fun and contribute to
the projects. Jeff Keen's approach is very similar, there is an
element of play to both of them, gathering together of friends and
creating something but in neither situation is it a free-for-all, the
director is always the one who decides what is right for the film and
what is not, they are still manifestations of a single artistic
vision.</span></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-size: normal;"><br /></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="color: black; font-size: normal;"><span style="font-family: "myriad pro";"><span style="font-size: normal;">We
also really love the films of Michael Powell and Emeric Pressburger
and we feel a strong connection with the kind of films they wer</span></span></span><span style="color: black; font-size: normal;"><span style="font-family: "myriad pro";"><span style="font-size: normal;"><span style="background: transparent;">e
making and their aspirations for what cinema could be. The way they
worked together is very interesting and although different to us
there are some connections. When reading about them you get the
feeling that their collaboration comes from a deep respect for each
other and also an excitement by what each can bring to the project.
They inspired us to not fuss over crediting who does what and simply
create all our films under “A Motion Picture by”. We also like
how they seemed to have a particularly international approach to
filmmaking, integrating in their core creative team highly skilled
collaborators from various parts of Europe. Somehow you can feel it
in their films, they have a boldness and openness that comes from an
environment of exchange between people of different backgrounds. Our
dream is that The Underground Film Studio can be like The Archers, a
label that points to a certain kind of creative universe, free from
all restraints and compromises, bound only by a love of art and a
dedication to craft. We've read somewhere they took the name The
Archers for themselves after reading this funny little poem by James
Agate:</span></span></span></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-size: normal;"><br /></span></div>
<div class="western" style="margin-bottom: 0cm; margin-left: 4.51cm;">
<span style="color: black; font-size: normal;"><span style="font-family: "myriad pro";"><span style="font-size: normal;"><span style="font-style: normal;"><span style="font-weight: normal;"><span style="background: transparent;">The
arrow was pure gold</span></span></span></span></span></span><span style="color: black; font-size: normal;"><span style="font-family: "myriad pro";"><span style="font-size: normal;"><span style="background: transparent;"><br /></span></span></span></span><span style="color: black; font-size: normal;"><span style="font-family: "myriad pro";"><span style="font-size: normal;"><span style="font-style: normal;"><span style="font-weight: normal;"><span style="background: transparent;">But
somehow missed the target.</span></span></span></span></span></span><span style="color: black; font-size: normal;"><span style="font-family: "myriad pro";"><span style="font-size: normal;"><span style="background: transparent;"><br /></span></span></span></span><span style="color: black; font-size: normal;"><span style="font-family: "myriad pro";"><span style="font-size: normal;"><span style="font-style: normal;"><span style="font-weight: normal;"><span style="background: transparent;">But
as all Golden Arrow trippers know,</span></span></span></span></span></span><span style="color: black; font-size: normal;"><span style="font-family: "myriad pro";"><span style="font-size: normal;"><span style="background: transparent;"><br /></span></span></span></span><span style="color: black; font-size: normal;"><span style="font-family: "myriad pro";"><span style="font-size: normal;"><span style="font-style: normal;"><span style="font-weight: normal;"><span style="background: transparent;">It’s
better to miss Naples than hit Margate.</span></span></span></span></span></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-size: normal;"><br /></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="color: black; font-size: normal;"><span style="font-family: "myriad pro";"><span style="font-size: normal;"><span style="background: transparent;">Another
two of our heroes are Stan Laurel and Oliver Hardy, on screen they
play characters who are at odds with the world and each other but
tied together on a journey through life. To see them destroy an
entire house in a dance of seeming chaos is such a delight, they
express a sense of being in a total disharmony with the world but
when you see them move through a space together you see that they are
in total harmony with themselves and each other, it is beautiful!
Sometimes we feel at odds with the world too and like Stan and Ollie
the more we try to fit in the more things go wrong, so we have learnt
over time that we have to be true to our own instincts and rhythm and
dance the dance that only we can dance!</span></span></span></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-size: normal;"><br /></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="color: black; font-size: normal;"><span style="font-family: "myriad pro";"><span style="font-size: normal;"><span style="background: transparent;">There
is also the artists Gilbert & George, whom we admire because of
the way in which their entire lives are structured and organised to
serve their art making. We approach our lives in the same way,
everything is in service of our work, where we live, how we eat, how
we organise our day etc, because all we are interested in is to make
art and it's a full time occupation. Like Gilbert & George, we
also soon realised that what we are interested in making is not the
fashionable kind of art at the moment and it doesn't draw much
interest, so we have to protect ourselves and our work and make sure
we are here for the long haul, so in some ways the structured
approach is as much a survival technique as a natural tendency for
us. All of these artists are completely uncompromising individuals
who've managed to find ways to make their work without compromising
their creative freedom and artistic integrity, and in our eyes if you
can do that, it's a success!</span></span></span></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-size: normal;"><br /></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: "myriad pro"; font-size: normal;"><span style="font-size: normal;"><span style="color: black;"><span style="font-family: "myriad pro";"><span style="font-size: normal;">AVANT KINEMA: </span></span></span>Can you tell us about how you began collaborating with each other?</span></span><br />
<br />
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<span style="font-size: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZkQ3uc93mg8Q8sov0Lh3vL7qJ6BrWr1T2EZJywJOLxzaIcUGkmk9lVpeScOAO3bOcMMgSg4EmGpfHGcc5QXEXo_v-y1qKr7MdUVBiS5EnrEThvbC5Pv51e0y-eaCvfLs4EeMjuErZw8dZ/s1600/01_Daniel+Fawcett+%2526+Clara+Pais.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1067" data-original-width="1600" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZkQ3uc93mg8Q8sov0Lh3vL7qJ6BrWr1T2EZJywJOLxzaIcUGkmk9lVpeScOAO3bOcMMgSg4EmGpfHGcc5QXEXo_v-y1qKr7MdUVBiS5EnrEThvbC5Pv51e0y-eaCvfLs4EeMjuErZw8dZ/s400/01_Daniel+Fawcett+%2526+Clara+Pais.jpg" width="400" /> </a></span></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-size: normal;">Daniel Fawcett & Clara Pais reading <i>Film Panic</i> magazine </span></div>
<br />
<span style="font-family: "myriad pro"; font-size: normal;"><span style="font-size: normal;">DANIEL
& CLARA: We met at the end of 2010 and only a few weeks after
first meeting we began work on our first feature film together </span></span><span style="font-family: "myriad pro"; font-size: normal;"><span style="font-size: normal;"><i>Savage
Witches</i></span></span><span style="font-family: "myriad pro"; font-size: normal;"><span style="font-size: normal;">. We'd
both collaborated with lots of people before but it wasn't until
meeting each other that we found someone with which we could in work
in such a deep and explorative way</span></span><span style="font-family: "myriad pro"; font-size: normal;"><span style="font-size: normal;"><span style="background: transparent;">
in such an equal partnership.</span></span></span><span style="font-family: "myriad pro"; font-size: normal;"><span style="font-size: normal;">
From working together our craft has improved, our ideas have become
refined and we can push each other to go beyond our personal
limitations. Somehow in the first few weeks of meeting we knew this
on an instinctive level and we got started pretty much straight away,
we've been collaborating every day now for 8 years and it has just
flashed by!</span></span></div>
<div class="western" style="margin-bottom: 0cm;">
<br />
<span style="font-family: "myriad pro"; font-size: normal;"><span style="font-size: normal;"> <span style="color: black;"><span style="font-family: "myriad pro";"><span style="font-size: normal;">AVANT KINEMA: </span></span></span>How did this collaboration work at the beginning? Was it easy to
decide who should do what in this newly formed creative relationship?
Did you have to set ground-rules and discuss the mechanics of how it
should work, or was it a more organic, instinctual process?</span></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-size: normal;"><br /></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: "myriad pro"; font-size: normal;"><span style="font-size: normal;">DANIEL
& CLARA: It was probably through the whole journey of writing,
shooting and editing </span></span><span style="font-family: "myriad pro"; font-size: normal;"><span style="font-size: normal;"><i>Savage
Witches</i></span></span><span style="font-family: "myriad pro"; font-size: normal;"><span style="font-size: normal;"> that
we fully worked out how our collaboration would be, at the very start
we talked about dividing the roles but it quickly became clear that
it wouldn't be like that, we both do everything, there is little
division and we generally pass things back and forth and both do
whatever it takes to make the film. Our approach is to lay everything
on the table, every idea gets put into the space between us and we
work on it, we are not precious about anything, it doesn't matter who
thinks of the ideas, once they materialise they belong to both of us
equally. When writing </span></span><span style="font-family: "myriad pro"; font-size: normal;"><span style="font-size: normal;"><i>Savage
Witches</i></span></span><span style="font-family: "myriad pro"; font-size: normal;"><span style="font-size: normal;"> we
would spend hours talking through the ideas then pass the script back
and forth adding to it and editing what each other had written until
we felt it was complete. We rarely disagree, usually we find that we
reach the same idea at the same moment but on those rare moments when
we have different ideas about something then we see this as a sign
that there is still more work to do and we then seek another way. We
never try to assert one will over another and we never settle on
something until we are both 100% happy. Neither of us ever
compromises, we simply keep exploring and digging deeper until we
find the thing that feels right to both of us.</span></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-size: normal;"><br /></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: "myriad pro"; font-size: normal;"><span style="font-size: normal;"><span style="color: black;"><span style="font-family: "myriad pro";"><span style="font-size: normal;">AVANT KINEMA: </span></span></span>For your first film together, the feature </span></span><span style="font-family: "myriad pro"; font-size: normal;"><span style="font-size: normal;"><i>Savage
Witches</i></span></span><span style="font-family: "myriad pro"; font-size: normal;"><span style="font-size: normal;">
(2012), this collaboration was extended to include the involvement of
your actors, </span></span><span style="color: black; font-size: normal;"><span style="font-family: "myriad pro";"><span style="font-size: normal;"><span lang="en">Christina
Wood and Victoria Smith. How did this work? What results came about
through that way of making a film, both the positives and the
negatives?</span></span></span></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-size: normal;"><br /></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="color: black; font-size: normal;"><span style="font-family: "myriad pro";"><span style="font-size: normal;"><span lang="en">DANIEL
& CLARA: Our collaboration with the actresses wan't the same as
the way we collaborate with each other. We are the directors of the
project so we have to decide what it is and be the guardians of that
vision and process. The actresses were cast and directed much like in
a conventional movie, the main difference is we gradually washed away
the line between the character and the actress. In the final edit we
included elements of the behind the scenes process into the narrative
but also this is a part of the fantasy too, there is no clear divide
between fact and fiction, sometimes what seems like document is in
fact fiction and what seems like fiction is in fact a document - in
</span></span></span></span><span style="color: black; font-size: normal;"><span style="font-family: "myriad pro";"><span style="font-size: normal;"><span lang="en"><i>Savage
Witches </i></span></span></span></span><span style="color: black; font-size: normal;"><span style="font-family: "myriad pro";"><span style="font-size: normal;"><span lang="en">they
are one and the same. So the film was not a collaboration with the
actresses in the sense that they had any creative control over what
the film was or what the scenes would be but within the framework of
the scenes they were able to improvise and react and what they gave
us became the material and subject of our work. </span></span></span></span><br />
<br />
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<span style="font-size: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6mTZhfznUohDTdBBdAJ5kBdhIAvqlNhZA4dSkpqkks9t-DErGzk87J2DzYQpKrd1mkqmFrmdUFY8Vi64t7rV0GgHOmFv1khg9crRxXa12S-ErH4QlvuWiWGJ9hJkSmnHAUHbwLRa8EBtb/s1600/02_Savage+Witches+%25282012%2529.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="719" data-original-width="960" height="298" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6mTZhfznUohDTdBBdAJ5kBdhIAvqlNhZA4dSkpqkks9t-DErGzk87J2DzYQpKrd1mkqmFrmdUFY8Vi64t7rV0GgHOmFv1khg9crRxXa12S-ErH4QlvuWiWGJ9hJkSmnHAUHbwLRa8EBtb/s400/02_Savage+Witches+%25282012%2529.png" width="400" /></a></span></div>
<div style="text-align: center;">
<span style="color: black; font-size: normal;"><span style="font-family: "myriad pro";"><span style="font-size: normal;"><span lang="en"><i>Savage Witches</i> (2012) </span></span></span></span>
</div>
</div>
<div class="western" lang="en" style="margin-bottom: 0cm;">
<span style="font-size: normal;"><br /></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: "myriad pro"; font-size: normal;"><span style="font-size: normal;"><span style="color: black;"><span style="font-family: "myriad pro";"><span style="font-size: normal;">AVANT KINEMA: </span></span></span>Have you collaborated with any other actors or crew members in ways
similar to this for your subsequent films? </span></span><span style="color: black; font-size: normal;"><span style="font-family: "myriad pro";"><span style="font-size: normal;"><span lang="en"><b>
</b></span></span></span></span><span style="color: black; font-size: normal;"><span style="font-family: "myriad pro";"><span style="font-size: normal;"><span lang="en">
</span></span></span></span>
</div>
<div class="western" lang="en" style="margin-bottom: 0cm;">
<span style="font-size: normal;"><br /></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="color: black; font-size: normal;"><span style="font-family: "myriad pro";"><span style="font-size: normal;"><span lang="en">DANIEL
& CLARA: I think in general the way we work with performers is
relatively consistent, but it will be tailored to the specifics of
the project or to the performer. We nearly always shoot silently and
add sound effects and dubbing in post-production. We do this because
we like to talk the actor through the scenes while we are shooting,
it is like a dance between us and them, we tell them where to move,
to speed up or slow down and they react and do something and we
direct further, it's a dialogue in a way. Increasingly we are finding
that we do less takes and that we like to work with the first take
that the actor gives, even if it is awkward or not what we expected.
There is something about that moment when something isn't fully
formed that is currently of great interest to us. </span></span></span></span><span style="color: black; font-size: normal;"><span style="font-family: "myriad pro";"><span style="font-size: normal;"><span lang="en"><i>Savage
Witches</i></span></span></span></span><span style="color: black; font-size: normal;"><span style="font-family: "myriad pro";"><span style="font-size: normal;"><span lang="en">
involved several months of rehearsals and workshops, learning the
lines and investigating the characters so that the onscreen
performances could be very precise but also have the feeling of
spontaneity. One of our more recent films </span></span></span></span><span style="color: black; font-size: normal;"><span style="font-family: "myriad pro";"><span style="font-size: normal;"><span lang="en"><i>The
Kingdom Of Shadows</i></span></span></span></span><span style="color: black; font-size: normal;"><span style="font-family: "myriad pro";"><span style="font-size: normal;"><span lang="en">
had no rehearsals and most of the actors only found out the specifics
of what their role would be when they arrived on location for the
shoot.</span></span></span></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-size: normal;"><br /></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="color: black; font-size: normal;"><span style="font-family: "myriad pro";"><span style="font-size: normal;"><span lang="en">We
don't often have a crew, we usually end up doing everything
ourselves, we occasionally have a couple of assistants to help with
general things but we rarely have technicians, we are always on the
look out for good crew to collaborate but we are very cautious as our
process is very particular and tailored to our creative needs and if
we did collaborate with a crew they would have to completely
surrender to that process. We have found on the whole that
technicians with film school training or industry experience have too
fixed ideas about what cinema is and what is good and bad and it
becomes too much of a struggle to uneducate them and tune them into
our process. </span></span></span></span><span style="font-family: "myriad pro"; font-size: normal;"><span style="font-size: normal;"><span lang="en">Saying
all that though there is one person we have worked with many times
and that is sound designer Simon Keep, we have collaborated with him
on several feature length and short films and his contribution to
those projects both creatively and technically has been invaluable.
He is someone who is very open to unusual processes and very much
shares our approach to finding the right process for a particular
project rather than imposing a preexisting system just because that's
how it is usually done. </span></span></span>
</div>
<div class="western" lang="en" style="margin-bottom: 0cm;">
<span style="font-size: normal;"><br /></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="color: black; font-size: normal;"><span style="font-family: "myriad pro";"><span style="font-size: normal;"><span lang="en"><span style="color: black;"><span style="font-family: "myriad pro";"><span style="font-size: normal;">AVANT KINEMA: </span></span></span>I know you both usually work together on the soundtracks for your
films. Did the creation of the music in</span></span></span></span><span style="font-family: "myriad pro"; font-size: normal;"><span style="font-size: normal;">
</span></span><span style="font-family: "myriad pro"; font-size: normal;"><span style="font-size: normal;"><i>Savage
Witches</i></span></span><span style="font-family: "myriad pro"; font-size: normal;"><span style="font-size: normal;">
also involve collaboration?</span></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-size: normal;"><br /></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: "myriad pro"; font-size: normal;"><span style="font-size: normal;">DANIEL
& CLARA: The music for </span></span><span style="font-family: "myriad pro"; font-size: normal;"><span style="font-size: normal;"><i>Savage
Witches</i></span></span><span style="font-family: "myriad pro"; font-size: normal;"><span style="font-size: normal;"> was
created by singer songwriter Fiona Bevan, Daniel has known her for
many years and they had often planned to collaborate. When we started
planning the film we knew she'd be the right person for the job, she
was able to evoke the right spirit of playfulness, experimentation,
dreaminess and a constantly shifting atmosphere. As we've mentioned
earlier we always edit our films silently then add sound design,
dubbing and music last, so once the edit was complete we spent a day
with Fiona watching the film and discussing ideas and looking at
which scenes could use music. We then left her alone for a couple of
weeks and she began creating pieces. She was keen to mirror in the
music some of the processes we used for the images, she mixed old and
new technology, electronic and acoustic instruments and various
recording devices. Once she had a few tracks she'd send them to us
and we'd place them in the edit, cut them up, move them around and
then give her some feedback. We didn't re-record any of her tracks,
the first takes she gave us mostly worked, usually the only change
would be that they'd often end up being used on different scenes to
those originally intended. We spent a couple of months working like
this, passing it back and forth, letting her create without
interference and then giving her some small feedback until it was
done. We adore the soundtrack, there are a couple of pieces she wrote
that are just pure bliss, the piece for organ and violin at the end
of the film is stunning and deeply moving!</span></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-size: normal;"><br /></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: "myriad pro"; font-size: normal;"><span style="font-size: normal;"><span style="color: black;"><span style="font-family: "myriad pro";"><span style="font-size: normal;">AVANT KINEMA: </span></span></span>How did your collaboration with each other develop after </span></span><span style="font-family: "myriad pro"; font-size: normal;"><span style="font-size: normal;"><i>Savage
Witches</i></span></span><span style="font-family: "myriad pro"; font-size: normal;"><span style="font-size: normal;">?</span></span><span style="font-family: "myriad pro"; font-size: normal;"><span style="font-size: normal;"> Could you talk us through a brief history of your work together and
its many branches?</span></span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-size: normal;"><br /></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="color: black; font-size: normal;"><span style="font-family: "myriad pro";"><span style="font-size: normal;"><span style="background: transparent;">DANIEL
& CLARA: </span></span></span></span><span style="font-family: "myriad pro"; font-size: normal;"><span style="font-size: normal;"><i>Savage
Witches</i></span></span><span style="font-family: "myriad pro"; font-size: normal;"><span style="font-size: normal;"> was
the foundation from which all our subsequent projects grow, in
essence everything was established there. After </span></span><span style="font-family: "myriad pro"; font-size: normal;"><span style="font-size: normal;"><i>Savage
Witches</i></span></span><span style="font-family: "myriad pro"; font-size: normal;"><span style="font-size: normal;"> we got
deeply involved in the study of dreams, alchemy, mythology and tarot
and this lead us to a couple of years where we didn't film much and
we mostly focused on writing. We wrote about 20 feature films over a
couple years and stirred to the surface so many ideas, images and
stories which we have now started to bring to life in films. In 2015
we shot </span></span><span style="font-family: "myriad pro"; font-size: normal;"><span style="font-size: normal;"><i>The</i></span></span><span style="font-family: "myriad pro"; font-size: normal;"><span style="font-size: normal;">
</span></span><span style="font-family: "myriad pro"; font-size: normal;"><span style="font-size: normal;"><i>Kingdom Of
Shadows,</i></span></span><span style="font-family: "myriad pro"; font-size: normal;"><span style="font-size: normal;"> a
feature film inspired by family history and dreams which is also a
retelling of the bible stories of Adam and Eve and Cain and Able.</span></span><br />
<br />
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<span style="font-size: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZYUdqNQaCj1TqMme3iUMf84iKlJxkygBxm9hIOnNK1MAsmeZ0wwDpBvgfoTc0hp1gxHxXtW4MAOS2TTcL-WtPXwD5yoojcdPmsw8_4r_mJhWAMYn1IW4MfqbIKLg6J-6nOhHDqa2FBOsJ/s1600/05_The+Kingdom+Of+Shadows+%25282016%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1600" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZYUdqNQaCj1TqMme3iUMf84iKlJxkygBxm9hIOnNK1MAsmeZ0wwDpBvgfoTc0hp1gxHxXtW4MAOS2TTcL-WtPXwD5yoojcdPmsw8_4r_mJhWAMYn1IW4MfqbIKLg6J-6nOhHDqa2FBOsJ/s400/05_The+Kingdom+Of+Shadows+%25282016%2529.jpg" width="400" /></a></span></div>
<div style="text-align: center;">
<i><span style="font-family: "myriad pro"; font-size: normal;"><span style="font-size: normal;"><span style="font-family: serif;">The Kingdom of Shadows</span></span></span></i><span style="font-size: normal;"> (2016)</span></div>
<div style="text-align: center;">
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgv7VOYC20OW9jM3wBfA7i8h1I_qngRiCXXv35KGuxWQxOsF9Z9b-_3bBwfr35q8r9iVuILhnqT_yVRcOdOJOUykOQ6XiN2MtV-Xry5CskFea21LlLmYrFZ07HIpkqf1z1Z7-TKfokUaadf/s1600/04_In+Search+Of+The+Exile+%25282016%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="960" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgv7VOYC20OW9jM3wBfA7i8h1I_qngRiCXXv35KGuxWQxOsF9Z9b-_3bBwfr35q8r9iVuILhnqT_yVRcOdOJOUykOQ6XiN2MtV-Xry5CskFea21LlLmYrFZ07HIpkqf1z1Z7-TKfokUaadf/s400/04_In+Search+Of+The+Exile+%25282016%2529.jpg" width="400" /> </a></div>
<div style="text-align: center;">
<i><span style="font-family: "myriad pro"; font-size: normal;"><span style="font-size: normal;"><span style="font-family: serif;">In Search of the Exile</span></span></span></i><span style="font-size: normal;"> (2016)</span></div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGcX8b60gL7tajrWWxEbhGezAx-791zYJ49UPU9daoglhgzBjAy8DPrFfiXZ-G_edkEkIkiJlusuOcBL2LvDjxca5CVUO1HuOV6YYWrKyleSyeNQ61R4dCMCct9J7hLq-zCJLy5Y6HS00c/s1600/06_Black+Sun+%25282017%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="993" data-original-width="1600" height="247" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGcX8b60gL7tajrWWxEbhGezAx-791zYJ49UPU9daoglhgzBjAy8DPrFfiXZ-G_edkEkIkiJlusuOcBL2LvDjxca5CVUO1HuOV6YYWrKyleSyeNQ61R4dCMCct9J7hLq-zCJLy5Y6HS00c/s400/06_Black+Sun+%25282017%2529.jpg" width="400" /></a></div>
<div style="text-align: center;">
<i><span style="font-family: "myriad pro"; font-size: normal;"><span style="font-size: normal;"><span style="font-family: serif;">Black Sun</span></span></span></i><span style="font-size: normal;"> (2017)</span></div>
<div style="text-align: center;">
<br /></div>
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: "myriad pro"; font-size: normal;"><span style="font-size: normal;">After
that we got into a very productive period where we shot several
feature films and a number of shorts as well as doing some expanded
cinema performances. Between us we've made now 8 feature films and
over 100 short films plus a few video installations. Alongside the
production of our film work we also publish <i>Film Panic</i> magazine and
have programmed screenings in the UK and Portugal. </span></span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-size: normal;"><br /></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: "myriad pro"; font-size: normal;"><span style="font-size: normal;">This
year we have a launched a new project called the </span></span><span style="font-family: "myriad pro"; font-size: normal;"><span style="font-size: normal;"><i>Studio
Diary</i></span></span><span style="font-family: "myriad pro"; font-size: normal;"><span style="font-size: normal;"> Series
which will eventually consist of 101 films: 100 shorts and 1 feature
length film.The Studio Diaries are intended to capture moments of our
daily work and are considered to be similar in function to a written
diary but rather than words on a page we use the tools of moving
images and sound design.</span></span><br />
<br />
<span style="font-family: "myriad pro"; font-size: normal;"><span style="font-size: normal;"> <span style="color: black;"><span style="font-family: "myriad pro";"><span style="font-size: normal;">AVANT KINEMA: </span></span></span>What, in your opinion, makes for a successful collaboration?</span></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-size: normal;"><br /></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: "myriad pro"; font-size: normal;"><span style="font-size: normal;">DANIEL
& CLARA: Our collaboration works because of a deep respect for
each other but an even deeper respect for creativity, it is not about
either of us individually but about a total surrender to the creative
process. </span></span>
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-size: normal;"><br /></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: "myriad pro"; font-size: normal;"><span style="font-size: normal;"><span style="color: black;"><span style="font-family: "myriad pro";"><span style="font-size: normal;">AVANT KINEMA: </span></span></span>Any creative person involved in a collaborative project is surely
hoping that the sum will be greater than the parts. Is this usually
the case, in your opinion? Feel free to plunder the history of
collaboration in the wider arts for examples to highlight your points
here.</span></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-size: normal;"><br /></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: "myriad pro"; font-size: normal;"><span style="font-size: normal;">DANIEL
& CLARA: Whether this is the case for others we can not say but
it certainly is for us. What we create together could not have come
from either of us individually, our work is the child of our
personalities and creativity combined. What is interesting is that
every collaboration will have different results, the coming together
of two or more parties for a joint creation is a magical thing and
will always give unexpected results.</span></span><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQ6Wnhi5KzszS_xeOIZtFRpvEunzA5roG42GYGDgLNlmZ0e9ldiJ8Qm6IvWi3bBNnjib3wuiBlPEOb7RQnSjseerlYKbzSah8Dmm6YLt_9olPGgEKX80GwpGZVOqWR6lvw4s9HgQ6YL2rJ/s1600/rouzbeh-rashidi.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="510" data-original-width="825" height="246" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQ6Wnhi5KzszS_xeOIZtFRpvEunzA5roG42GYGDgLNlmZ0e9ldiJ8Qm6IvWi3bBNnjib3wuiBlPEOb7RQnSjseerlYKbzSah8Dmm6YLt_9olPGgEKX80GwpGZVOqWR6lvw4s9HgQ6YL2rJ/s400/rouzbeh-rashidi.jpg" width="400" /></a></div>
<div style="text-align: center;">
<span style="font-family: "myriad pro"; font-size: normal;"><span style="font-size: normal;">Rouzbeh Rashidi </span></span></div>
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-size: normal;"><br /></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: "myriad pro"; font-size: normal;"><span style="font-size: normal;"><span style="color: black;"><span style="font-family: "myriad pro";"><span style="font-size: normal;">AVANT KINEMA: </span></span></span>Who is Rouzbeh Rashidi? Could you tell us the story and list the
highlights of your various collaborations with him?</span></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-size: normal;"><br /></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: "myriad pro"; font-size: normal;"><span style="font-size: normal;"><span style="font-weight: normal;">DANIEL
& CLARA: Rouzbeh Rashidi is one of the most exciting filmmakers
working today, he is the founder of the Dublin based company
Experimental Film Society which produces, screens and distributes
films, and he has made </span></span></span><span style="font-family: "myriad pro"; font-size: normal;"><span style="font-size: normal;"><span style="font-weight: normal;"><span style="background: transparent;">over
30 featu</span></span></span></span><span style="font-family: "myriad pro"; font-size: normal;"><span style="font-size: normal;"><span style="font-weight: normal;">re
films. He is a dear friend of ours and we share a lot of ideas and
personal philosophies about filmmaking, we all have a passion for
cinema of all kinds. We have been collaborating on projects together
since 2015, the first time we worked together was when we invited him
to play a role in </span></span></span><span style="font-family: "myriad pro"; font-size: normal;"><span style="font-size: normal;"><i><span style="font-weight: normal;">The
Kingdom Of Shadows</span></i></span></span><span style="font-family: "myriad pro"; font-size: normal;"><span style="font-size: normal;"><span style="font-weight: normal;">.
This film was shot on location in Portugal and is our personal
retelling of the story of Adam & Eve and their descendants.
Rouzbeh plays the Inspector, a mysterious and slightly humorous
detective who turns up half way through the film to investigate the
crimes of the family and stir out some skeletons from their closets.
He was fantastic in the role and we all had such a great time
together! While he was in Portugal he also shot a few sequences for
his own film </span></span></span><span style="font-family: "myriad pro"; font-size: normal;"><span style="font-size: normal;"><i><span style="font-weight: normal;">TRAILERS</span></i></span></span><span style="font-family: "myriad pro"; font-size: normal;"><span style="font-size: normal;"><span style="font-weight: normal;">
which is an absolutely incredible mind-melting 3 hour film filled
with images of cosmic transformations and post-human rituals, it's a
delirious homage to sci-fi cinema presented as a
hypnagogic-cinematic-dream!</span></span></span></div>
<div class="western" style="font-weight: normal; margin-bottom: 0cm;">
<span style="font-size: normal;"><br /></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: "myriad pro"; font-size: normal;"><span style="font-size: normal;"><span style="font-weight: normal;">In
2017 we spent two weeks in Ireland playing the lead roles in his
latest feature film </span></span></span><span style="font-family: "myriad pro"; font-size: normal;"><span style="font-size: normal;"><i><span style="font-weight: normal;">Phantom
Islands, </span></i></span></span><span style="font-family: "myriad pro"; font-size: normal;"><span style="font-size: normal;"><span style="font-weight: normal;">we
play a tormented couple adrift in the wild landscape. It's a stunning
film and was such a great experience to work on and to push ourselves
as performers. We really enjoyed acting and hopefully we'll have more
opportunities do so. We have also collaborated with Rouzbeh on some
publications, short films and screenings and we have lots more plans
together for the next couple of years, including the return of
Inspector!</span></span></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-size: normal;"><br /></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: "myriad pro"; font-size: normal;"><span style="font-size: normal;"><span style="color: black;"><span style="font-family: "myriad pro";"><span style="font-size: normal;">AVANT KINEMA: </span></span></span>Who is Bradley Tuck? Could you, likewise, please discuss your shared
history with him as a collaborator?</span></span><br />
<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTD5WGNNfklaYvteKsCF7vZVtL_pJ0hOynW7tD6Dm8sAz82bdB1e0hMbULPZZ1WoaO7kfRpDN7rzzq7i521ZcLeJiPVu-yk-j4RdD42-lmgmLjlDmTFybqwJJQDVHnmI1CoAUiWLr7Y2BR/s1600/03_Sacrificium+Intellectus+%25282012%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1191" data-original-width="1600" height="297" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTD5WGNNfklaYvteKsCF7vZVtL_pJ0hOynW7tD6Dm8sAz82bdB1e0hMbULPZZ1WoaO7kfRpDN7rzzq7i521ZcLeJiPVu-yk-j4RdD42-lmgmLjlDmTFybqwJJQDVHnmI1CoAUiWLr7Y2BR/s400/03_Sacrificium+Intellectus+%25282012%2529.jpg" width="400" /></a></div>
<div style="text-align: center;">
<span style="font-family: "myriad pro"; font-size: normal;"><span style="font-size: normal;"> <span style="font-family: serif;">Bradley Tuck in <i>Sacrificium Intellectus</i></span></span></span><span style="font-size: normal;"> (2012)</span></div>
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-size: normal;"><br /></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: "myriad pro"; font-size: normal;"><span style="font-size: normal;">DANIEL
& CLARA: Bradley is a writer, theorist and performer, he runs a
website called Exploding Appendix through which he publishes articles
on philosophy, politics and culture. We've know Bradley for many
years, we worked together at One+One Filmmakers Journal and we have
shot lots of films together, he can be seen in our films </span></span><span style="font-family: "myriad pro"; font-size: normal;"><span style="font-size: normal;"><i>Splendor
Solis</i></span></span><span style="font-family: "myriad pro"; font-size: normal;"><span style="font-size: normal;"> and
</span></span><span style="font-family: "myriad pro"; font-size: normal;"><span style="font-size: normal;"><i>Sacrificium
Intellectus</i></span></span><span style="font-family: "myriad pro"; font-size: normal;"><span style="font-size: normal;">.
This year we are artists in residence at his website and are
collaborating on an epic year-long conversation about our work,
covering all our films and related projects. It is published monthly
online and then in 2019 it will be published as a book. It's been an
amazing experience so far, although it's been incredibly intense and
hard work to have to dig into each project with such depth and to try
to articulate things that between ourselves we can speak of very
easily as we have our own short-hand phrases that we understand but
to bridge the gap and explain them to others is quite a challenge.
But a challenge we are rising to and finding infinitely rewarding and
through this process it is opening up lots of new ideas!</span></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-size: normal;"><br /></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: "myriad pro"; font-size: normal;"><span style="font-size: normal;">We
have two films in the pipeline which Bradley will be performing in,
one is a short dance film (Bradley is an exceptional dancer) and the
other is a feature film called </span></span><span style="font-family: "myriad pro"; font-size: normal;"><span style="font-size: normal;"><i>Dream
Pavilion</i></span></span><span style="font-family: "myriad pro"; font-size: normal;"><span style="font-size: normal;"> which
we are shooting in the UK later this year.</span></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-size: normal;"><br /></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: "myriad pro"; font-size: normal;"><span style="font-size: normal;"><span style="color: black;"><span style="font-family: "myriad pro";"><span style="font-size: normal;">AVANT KINEMA: </span></span></span>Do
you have any advice for filmmakers and artists new to collaboration
who want to try out this way of working?</span></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-size: normal;"><br /></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: "myriad pro"; font-size: normal;"><span style="font-size: normal;">DANIEL
& CLARA: Everyone will need to find the right way that is unique
to them, it's very hard to offer advice and what works in one moment
might not work in another</span></span><span style="font-family: "myriad pro"; font-size: normal;"><span style="font-size: normal;"><span style="background: transparent;">.
As we grow and change the dynamic of our collaboration grows and
changes also. We never planne</span></span></span><span style="font-family: "myriad pro"; font-size: normal;"><span style="font-size: normal;">d
to be so much collaborators, we both envisioned that we would make
art</span></span><span style="font-family: "myriad pro"; font-size: normal;"><span style="font-size: normal;"><span style="background: transparent;">
as individual artists b</span></span></span><span style="font-family: "myriad pro"; font-size: normal;"><span style="font-size: normal;">ut
we have been lucky to find another person to whom we feel a
meaningful connection and shared attitude and process, somehow there
is a balance between us and it works and while it works we shall
continue on this path together.</span></span><br />
<br />
<span style="font-family: "myriad pro"; font-size: normal;"><span style="font-size: normal;">AVANT KINEMA: Thank you both very much for taking the time to answer our questions, Daniel Fawcett and Clara Pais. </span></span><br />
<br />
<div style="text-align: center;">
<a href="http://theundergroundfilmstudio.co.uk/" target="_blank"><span style="font-family: "myriad pro"; font-size: normal;"><span style="font-size: normal;">UNDERGROUND FILM STUDIO</span></span></a></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<a href="http://theundergroundfilmstudio.co.uk/film-panic/" target="_blank"><span style="font-family: "myriad pro"; font-size: normal;"><span style="font-size: normal;">FILM PANIC Zine</span></span></a></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<span style="font-family: "myriad pro"; font-size: normal;"><span style="font-size: normal;"> </span></span></div>
</div>
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<span style="font-size: normal;"><br /></span></div>
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<span style="font-size: normal;"><br /></span></div>
<style type="text/css">P { margin-bottom: 0.21cm; }</style>Athene Noctuahttp://www.blogger.com/profile/15138777467179453959noreply@blogger.com0tag:blogger.com,1999:blog-2808512155163057333.post-67204984556096261112018-06-03T06:16:00.002-07:002018-06-03T13:03:16.326-07:00Interview w/ filmmaker, Toby Tatum (England)<span style="font-size: normal;"><br /></span>
<br />
<div style="text-align: center;">
<span style="font-size: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4WiqEAN2s5oii2-6CGlkjTD0UooEhrJOuCTsYQ4QpvfI2eckvYR-_DTk0BlTQS0Wy2Jjahjk6Cf_my7qZZD8jV4iEn5-71bOm4pA9J1qyh3k5jJTqGoejy5MZGnG2PFxlugdJ3UZioraS/s1600/Toby-Tatum-Jo-Israel.jpg" imageanchor="1"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4WiqEAN2s5oii2-6CGlkjTD0UooEhrJOuCTsYQ4QpvfI2eckvYR-_DTk0BlTQS0Wy2Jjahjk6Cf_my7qZZD8jV4iEn5-71bOm4pA9J1qyh3k5jJTqGoejy5MZGnG2PFxlugdJ3UZioraS/s400/Toby-Tatum-Jo-Israel.jpg" width="300" /></a></span></div>
<div style="text-align: center;">
<span style="font-size: x-small;">Toby Tatum photograph by Jo Israel</span></div>
<div align="LEFT" lang="en-US" style="background: transparent; font-style: normal; font-weight: normal; line-height: 100%; margin-bottom: 0cm; orphans: 2; page-break-after: auto; page-break-before: auto; page-break-inside: auto; text-decoration: none; widows: 2;">
<span style="font-size: normal;"><br /></span>
<span style="color: black; font-size: normal;"><span style="font-family: "trebuchet ms" , serif;"><span style="font-size: normal;">English
filmmaker, Toby Tatum, creates video art works which explore those
ethereal, wild landscapes of the forgotten forest and the entangled
garden: places where the fantastical, the dreamlike and the sinister
might reside. We were already aware of Toby and his films from
reading his interview in issue three of <i>Film Panic</i> magazine as
we sat having lunch in the Damascus Drum in Hawick, flicking through
the programme for the Alchemy Film and Moving Image Festival. We had
just begun discussing the fact that the festival was to include a
double-bill installation by Toby and that he would no doubt be in
attendance when Sarahjane suddenly spotted him quietly eating his
lunch at the back of the room. "Isn't that him right there?"
she whispered. We three immediately struck up a friendship and made
sure that we bumped into each other frequently throughout the
duration of the festival.</span></span></span><br />
<span style="font-size: normal;"><br /></span>
<span style="color: black; font-size: normal;"><span style="font-family: "trebuchet ms" , serif;"><span style="font-size: normal;">We interviewed Toby by post a couple of weeks after Alchemy... </span></span></span>
</div>
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<span style="font-size: normal;"><br /></span></div>
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<span style="color: black; font-size: normal;"><span style="font-family: "trebuchet ms" , serif;"><span style="font-size: normal;">AK:
Welcome, Toby Tatum. Where might we find you at this moment in time?</span></span></span></div>
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<span style="font-size: normal;"><br /></span></div>
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<span style="color: black; font-size: normal;"><span style="font-family: "trebuchet ms" , serif;"><span style="font-size: normal;">TT:
The immense swollen vines that relentlessly advance on the mouldering
castle crawl inexorably closer each day. By the dim light of an
obscured sun we hack away as many of the advancing creepers as
possible, avoiding the giant perfumed flowers and their lulling
narcotic scent. At night we fall asleep exhausted while listening to
monsters rioting amid the advancing undergrowth. One night, perhaps
soon, they will be upon us.</span></span></span></div>
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<span style="font-size: normal;"><br /></span></div>
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<span style="color: black; font-size: normal;"><span style="font-family: "trebuchet ms" , serif;"><span style="font-size: normal;">AK:
Could you tell us about your installation at the 2018 Alchemy Film
and Moving Image Festival?</span></span></span></div>
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<span style="font-size: normal;"><br /></span></div>
<div align="LEFT" lang="en-US" style="background: transparent; font-style: normal; font-weight: normal; line-height: 100%; margin-bottom: 0cm; orphans: 2; page-break-after: auto; page-break-before: auto; page-break-inside: auto; text-decoration: none; widows: 2;">
<span style="color: black; font-size: normal;"><span style="font-family: "times new roman" , serif;"><span style="font-size: normal;"><span style="font-family: "trebuchet ms" , serif;"><span style="font-size: normal;"><span lang="en-US">TT:
I was lucky enough to be invited to present two films at Alchemy,
both screened in an installation context. The works are both from
2017 and are called </span></span></span><span style="font-family: "trebuchet ms" , serif;"><span style="font-size: normal;"><span lang="en-US"><i>Lost
Gardens</i></span></span></span><span style="font-family: "trebuchet ms" , serif;"><span style="font-size: normal;"><span lang="en-US">
and </span></span></span><span style="font-family: "trebuchet ms" , serif;"><span style="font-size: normal;"><span lang="en-US"><i>The
Signal</i></span></span></span><span style="font-family: "trebuchet ms" , serif;"><span style="font-size: normal;"><span lang="en-US">.
</span></span></span><span style="font-family: "trebuchet ms" , serif;"><span style="font-size: normal;"><span lang="en-US"><i>Lost
Gardens</i></span></span></span><span style="font-family: "trebuchet ms" , serif;"><span style="font-size: normal;"><span lang="en-US">
is a document of an abandoned out-of-control Eden, where the laws of
nature have warped improbably. </span></span></span><span style="font-family: "trebuchet ms" , serif;"><span style="font-size: normal;"><span lang="en-US"><i>The
Signal</i></span></span></span><span style="font-family: "trebuchet ms" , serif;"><span style="font-size: normal;"><span lang="en-US">
attempts to decode a cosmic message beamed from the sky.</span></span></span></span></span></span><br />
<span style="font-size: normal;"><br /></span>
<br />
<div style="text-align: center;">
<span style="font-size: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoK3n0V7ccq_kzXSbnYksZEwuXpV_wrCnuQZspOkGjx0THg6IOKdiMbQcJhKNKSvYwLUhRVrhcezl_jyGKu03chGQ43qFsTN8Sh6DMGu_hsV3GS99qGiAIAv-dRaPWHztLJwYYhV9A1qNM/s1600/Lost+Gardens+Film+Still+1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1600" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoK3n0V7ccq_kzXSbnYksZEwuXpV_wrCnuQZspOkGjx0THg6IOKdiMbQcJhKNKSvYwLUhRVrhcezl_jyGKu03chGQ43qFsTN8Sh6DMGu_hsV3GS99qGiAIAv-dRaPWHztLJwYYhV9A1qNM/s400/Lost+Gardens+Film+Still+1.jpg" width="400" /> </a></span></div>
<div style="text-align: center;">
<span style="font-size: x-small;"><i><span style="font-size: normal;">Lost Gardens</span> </i></span><span style="color: black; font-size: normal;"><span style="font-family: "times new roman" , serif;"><span style="font-size: normal;"><span style="font-family: "trebuchet ms" , serif;"><span style="font-size: normal;"><span lang="en-US"><i> </i></span></span></span></span></span></span></div>
</div>
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<span style="font-size: normal;"><br /></span></div>
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<span style="color: black; font-size: normal;"><span style="font-family: "trebuchet ms" , serif;"><span style="font-size: normal;">AK:
Could you give us a brief history of your involvement with creating
moving image works?</span></span></span></div>
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<span style="font-size: normal;"><br /></span></div>
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<span style="color: black; font-size: normal;"><span style="font-family: "trebuchet ms" , serif;"><span style="font-size: normal;">TT:
My uncle Simon had a junk shop and a Super-8 camera. My two sisters
and I sometimes used to stay with him during the summer holidays.
No-one seemed to visit the shop, which was piled high with unwanted,
unfashionable oddities. Often, no doubt out of boredom, uncle Simon
would encourage us to build movie sets out of broken furniture and
moth-eaten taxidermy. Occasionally one of us would take up the camera
ourselves, panning across the brimming shelves and the ruined
antiques, or spying out through the window onto the street in search
of random magic. I took a look at one of these films recently, having
visited my uncle again. The reel of film, which had lain undisturbed
in his desk draw for thirty years, was mostly too dark to make any
sense of but there amid the crepuscular gloom I could see one image
of our three childish faces peering out from beneath the unseeing
gaze of a immense stuffed owl.</span></span></span></div>
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<span style="font-size: normal;"><br /></span></div>
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<span style="color: black; font-size: normal;"><span style="font-family: "trebuchet ms" , serif;"><span style="font-size: normal;">AK:
What were the major influences in the arts and in life which
encouraged you to become involved with this field?</span></span></span></div>
<div align="LEFT" lang="en-US" style="background: transparent; font-style: normal; font-weight: normal; line-height: 100%; margin-bottom: 0cm; orphans: 2; page-break-after: auto; page-break-before: auto; page-break-inside: auto; text-decoration: none; widows: 2;">
<span style="font-size: normal;"><br /></span></div>
<div align="LEFT" lang="en-US" style="background: transparent; font-style: normal; font-weight: normal; line-height: 100%; margin-bottom: 0cm; orphans: 2; page-break-after: auto; page-break-before: auto; page-break-inside: auto; text-decoration: none; widows: 2;">
<span style="color: black; font-size: normal;"><span style="font-family: "times new roman" , serif;"><span style="font-size: normal;"><span style="font-family: "trebuchet ms" , serif;"><span style="font-size: normal;"><span lang="en-US">TT:
The art school where I initially studied was Shelley Park in
Boscombe, near Bournemouth. As the name suggests Shelley Park had
some association with the Shelleys, belonging originally, I think, to
Mary Shelley’s mother Mary Wollstonecraft. I found this impressive
building, with its odd nooks and mysterious basements, intensely
atmospheric and in studying there I enjoyed proximity, however
distant, to some of the most notorious of Romantic outsiders. The two
Marys are buried in a churchyard nearby, entombed with the poet Percy
Bysshe Shelley’s heart. I’d been a fan of Mary Shelley’s
</span></span></span><span style="font-family: "trebuchet ms" , serif;"><span style="font-size: normal;"><span lang="en-US"><i>Frankenstein
</i></span></span></span><span style="font-family: "trebuchet ms" , serif;"><span style="font-size: normal;"><span lang="en-US">and
the legend of its creation since watching Ken Russell’s lurid 1986
film </span></span></span><span style="font-family: "trebuchet ms" , serif;"><span style="font-size: normal;"><span lang="en-US"><i>Gothic
</i></span></span></span><span style="font-family: "trebuchet ms" , serif;"><span style="font-size: normal;"><span lang="en-US">on
TV late one night (shown on BBC2 as part of Alex Cox’s marvellous
Moviedrome series). The notion of the Romantic channelled through the
cinematic has been central to my practice ever since.</span></span></span></span></span></span></div>
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<span style="font-size: normal;"><br /></span></div>
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<span style="color: black; font-size: normal;"><span style="font-family: "trebuchet ms" , serif;"><span style="font-size: normal;">AK:
What does the word “experimental” mean to you?</span></span></span></div>
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<span style="font-size: normal;"><br /></span></div>
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<span style="color: black; font-size: normal;"><span style="font-family: "trebuchet ms" , serif;"><span style="font-size: normal;">TT:
My work is experimental in the Frankensteinian sense - a practice
carried on in the shadows without official sanction. The unholy union
of disparate elements stitched together into strange new forms is
central to film. The hope is that something inviolate may one day
arise from my experiments, something that ultimately transcends its
creator. </span></span></span>
</div>
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<span style="font-size: normal;"><br /></span></div>
<div align="LEFT" lang="en-US" style="background: transparent; font-style: normal; font-weight: normal; line-height: 100%; margin-bottom: 0cm; orphans: 2; page-break-after: auto; page-break-before: auto; page-break-inside: auto; text-decoration: none; widows: 2;">
<span style="color: black; font-size: normal;"><span style="font-family: "times new roman" , serif;"><span style="font-size: normal;"><span style="font-family: "trebuchet ms" , serif;"><span style="font-size: normal;"><span lang="en-US">AK:
At Avant Kinema we have a particular interest in low budget, DIY or
LoFi forms of creativity. What are your thoughts on films, music,
zines or other artworks created in this way? </span></span></span></span></span></span>
</div>
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<span style="font-size: normal;"><br /></span></div>
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<span style="color: black; font-size: normal;"><span style="font-family: "trebuchet ms" , serif;"><span style="font-size: normal;">TT:
Better to remain free than to compromise integrity and autonomy.</span></span></span></div>
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<span style="font-size: normal;"><br /></span></div>
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<span style="color: black; font-size: normal;"><span style="font-family: "trebuchet ms" , serif;"><span style="font-size: normal;">AK:
What technology or processes do you favour in your work? </span></span></span>
</div>
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<span style="font-size: normal;"><br /></span></div>
<div align="LEFT" lang="en-US" style="background: transparent; font-style: normal; font-weight: normal; line-height: 100%; margin-bottom: 0cm; orphans: 2; page-break-after: auto; page-break-before: auto; page-break-inside: auto; text-decoration: none; widows: 2;">
<span style="color: black; font-size: normal;"><span style="font-family: "trebuchet ms" , serif;"><span style="font-size: normal;">TT:
The equipment exists to give rise to the dream. </span></span></span>
</div>
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<span style="font-size: normal;"><br /></span></div>
<div align="LEFT" lang="en-US" style="background: transparent; font-style: normal; font-weight: normal; line-height: 100%; margin-bottom: 0cm; orphans: 2; page-break-after: auto; page-break-before: auto; page-break-inside: auto; text-decoration: none; widows: 2;">
<span style="color: black; font-size: normal;"><span style="font-family: "times new roman" , serif;"><span style="font-size: normal;"><span style="font-family: "trebuchet ms" , serif;"><span style="font-size: normal;"><span lang="en-US">AK</span></span></span><span style="font-family: "trebuchet ms" , serif;"><span style="font-size: normal;"><span lang="en-US">:
Do you think that analogue photography / filmmaking still has a place
in the 21</span></span></span><sup><span style="font-family: "trebuchet ms" , serif;"><span style="font-size: normal;"><span lang="en-US">st</span></span></span></sup><span style="font-family: "trebuchet ms" , serif;"><span style="font-size: normal;"><span lang="en-US">
Century?</span></span></span></span></span></span></div>
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<span style="font-size: normal;"><br /></span></div>
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<span style="color: black; font-size: normal;"><span style="font-family: "trebuchet ms" , serif;"><span style="font-size: normal;">TT:
Yes, absolutely. It might be interesting to go further back too - to
the phantasmagoria, to the séance-like atmosphere of the early magic
lantern shows or even further back to the proto-cinemas of the
prehistoric caves, where shadows danced on the walls and painted
creatures flickered on the threshold between worlds. </span></span></span>
</div>
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<span style="font-size: normal;"><br /></span></div>
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<span style="color: black; font-size: normal;"><span style="font-family: "trebuchet ms" , serif;"><span style="font-size: normal;">AK:
Could you talk us through the whole process of how you generally go
about creating a work, from the initial concepts through to the
finishing touches? </span></span></span><br />
<span style="font-size: normal;"><br /></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<span style="font-size: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgt8McAThbUR1NTvYvkwHhJQdblYMzqUBxFANV-aywThQuxku6N11QbxhzUPqu0twvpw6RcCQc1ESOB7gf5xV58u-j09EMruV9CdfQR6-8zai-OT7oUhAiTX1TpEOGJ0pm5QIthaeO0PugT/s1600/Lost+Gardens+Film+Still+3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1600" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgt8McAThbUR1NTvYvkwHhJQdblYMzqUBxFANV-aywThQuxku6N11QbxhzUPqu0twvpw6RcCQc1ESOB7gf5xV58u-j09EMruV9CdfQR6-8zai-OT7oUhAiTX1TpEOGJ0pm5QIthaeO0PugT/s400/Lost+Gardens+Film+Still+3.jpg" width="400" /></a></span></div>
<div style="text-align: center;">
<span style="color: black; font-size: x-small;"><span style="font-family: "trebuchet ms" , serif;"><span style="font-size: normal;"> </span></span></span><span style="font-size: x-small;"><i><span style="font-size: normal;">Lost Gardens</span> </i></span><span style="color: black; font-size: normal;"><span style="font-family: "times new roman" , serif;"><span style="font-size: normal;"><span style="font-family: "trebuchet ms" , serif;"><span style="font-size: normal;"><span lang="en-US"><i> </i></span></span></span></span></span></span>
</div>
</div>
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<span style="font-size: normal;"><br /></span></div>
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<span style="color: black; font-size: normal;"><span style="font-family: "trebuchet ms" , serif;"><span style="font-size: normal;">TT:
As my recent work seems to have arisen from the forest I’ve
included some reflections on this sea of green and how it informs my
films and my general outlook: </span></span></span>
</div>
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<span style="font-size: normal;"><br /></span></div>
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<span style="color: black; font-size: normal;"><span style="font-family: "trebuchet ms" , serif;"><span style="font-size: normal;">I
seem drawn to nature at its most dense, where it begins to close in,
where walls of foliage rear up to engulf me. For me the forest is
something other, something ultimately unknowable. In its green
embrace, I engage with and attempt to record this abiding mystery.
The footage gathered on these outings often lays dormant for some
time before it may or may not be worked into a film. At this point it
becomes something other, transformed during the arcane editing
process into something more reflective of my emotional or
psychological response to the world, rather than a literal document
of a specific place. I’m not drawn to the forest because of
environmental concerns (although I am sympathetic to those) or
because I see nature as healthy or elevating in a moral sense. The
age-old belief that the fertile profusion of the forest was something
to be deeply suspicious of has more of an appeal to me, as if among
the greenery broods the demonic. I often think about the Roman
soldiers confronting the sprawling, seemingly endless, German forest
and fearing it as something outside their comprehension, something
pre-civilised and untamed, housing barbarians and secret animals.</span></span></span></div>
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<span style="color: black; font-size: normal;"><span style="font-family: "trebuchet ms" , serif;"><span style="font-size: normal;">AK:
What methods do you use to generate ideas and stimulate your
creativity?</span></span></span></div>
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<span style="color: black; font-size: normal;"><span style="font-family: "trebuchet ms" , serif;"><span style="font-size: normal;">TT:
My book-filled study is enjungled with gigantic plants. Among them
lives a royal python, re-homed from the RSPCA. This mysterious
creature adds to the atmosphere of the room. To me she represents
knowledge, perhaps forbidden or secret knowledge. Also, to me, the
patience of the serpent is key - something abiding in the stillness
of the leaves - this relates to my work I think. She transports me to
the garden of Eden, where the biblical serpent lurked. For me the
snake represents art, with all its transgressions.</span></span></span><br />
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<span style="color: black; font-size: x-small;"><span style="font-family: "trebuchet ms" , serif;"><span style="font-size: normal;"> </span></span></span><span style="font-size: normal;"><i><span style="font-size: x-small;">Lost Gardens</span> </i></span><span style="color: black; font-size: normal;"><span style="font-family: "times new roman" , serif;"><span style="font-size: normal;"><span style="font-family: "trebuchet ms" , serif;"><span style="font-size: normal;"><span lang="en-US"><i> </i></span></span></span></span></span></span></div>
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<span style="color: black; font-size: normal;"><span style="font-family: "trebuchet ms" , serif;"><span style="font-size: normal;">AK:
Could you tell us about your experiences of coming to Scotland to
attend the Alchemy Film and Moving Image Festival? What were your
impressions of Hawick, the Scottish Borders, Scotland? Which films,
installations and/or expanded cinema events were the highlights of
the festival for you?</span></span></span></div>
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<span style="color: black; font-size: normal;"><span style="font-family: "times new roman" , serif;"><span style="font-size: normal;"><span style="font-family: "trebuchet ms" , serif;"><span style="font-size: normal;"><span lang="en-US">TT:
The procession of the devotees to the castle on the final day seemed
a crowning moment. Stan Brakhage’s hour long 16mm film </span></span></span><span style="font-family: "trebuchet ms" , serif;"><span style="font-size: normal;"><span lang="en-US"><i>Text
Of Light</i></span></span></span><span style="font-family: "trebuchet ms" , serif;"><span style="font-size: normal;"><span lang="en-US">
was shown in a darkened chamber in a remote Scottish castle. The
journey to the castle, first by bus and then on foot, and the majesty
of this masterwork fused together into a singular never-to-be
repeated experience. One of the things that most impresses me about
Alchemy - and I have had this impression every time I have visited it
- is the coming together of a band of enthusiasts dedicated to the
most uncompromising cinema. There is no hierarchy at Alchemy, no
prizes are awarded. Instead a sense of a collective endeavour and a
shared passion emerges. I expect that my experience at Alchemy will
help sustain me for some time to come. </span></span></span></span></span></span>
</div>
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<span style="color: black; font-size: normal;"><span style="font-family: "trebuchet ms" , serif;"><span style="font-size: normal;">AK:
How do you fund your work with Moving Images? </span></span></span>
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<span style="color: black; font-size: normal;"><span style="font-family: "trebuchet ms" , serif;"><span style="font-size: normal;">TT:
The dream manages to sustain itself in opposition to the crushing
pressures exerted by the outside world.</span></span></span></div>
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<span style="color: black; font-size: normal;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: normal;"><span style="font-family: "trebuchet ms" , serif;"><span style="font-size: normal;">AK
- Thank you very much for taking the time to answer our questions,
Toby. x </span></span></span></span></span>
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<span style="font-size: normal;"><iframe allowfullscreen="" frameborder="0" height="360" mozallowfullscreen="" src="https://player.vimeo.com/video/62891113" webkitallowfullscreen="" width="640"></iframe>
<a href="https://vimeo.com/62891113">The Secluded Grove</a> from <a href="https://vimeo.com/tobytatum">Toby Tatum</a> on <a href="https://vimeo.com/">Vimeo</a>.</span></center>
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<span style="font-size: normal;"><a href="http://www.tobytatum.com/" target="_blank">VISIT TOBYTATUM.COM</a></span></center>
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Athene Noctuahttp://www.blogger.com/profile/15138777467179453959noreply@blogger.com0tag:blogger.com,1999:blog-2808512155163057333.post-86409318906856828722018-05-30T08:20:00.002-07:002018-06-03T06:05:27.882-07:00Interview w/ filmmaker, Allan Brown (Canada)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhycsZLBtQ0mFemljraQWEz9r4MDK8FsA9LX9tw99HYsFEIN6LeAwEW64sZkvGTNOD0TfkvE3__EXY0E_CvFeUNYI2xjRIW0HzpUCkHpMtEm5f_BTB5HWsI4tzlFhR3q4UJl__3gdiSy3zd/s1600/Allan-Brown_Photo-1-Silver_still3A-600x337.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="337" data-original-width="600" height="356" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhycsZLBtQ0mFemljraQWEz9r4MDK8FsA9LX9tw99HYsFEIN6LeAwEW64sZkvGTNOD0TfkvE3__EXY0E_CvFeUNYI2xjRIW0HzpUCkHpMtEm5f_BTB5HWsI4tzlFhR3q4UJl__3gdiSy3zd/s640/Allan-Brown_Photo-1-Silver_still3A-600x337.jpg" width="640" /></a></div>
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"A man from outer space sets out to free his father from a hospital. In
the course of his journey, he becomes bathed in his own inner space of
emotional closed circuits, alienation, rings, halos, loops, orbits,
cycles, echoes and dream logic." </div>
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In 2016 we watched <i>Silver</i>, a Lo-Fi and experimental feature-length Super 8 science fiction film, at
the Alchemy Film and Moving Image Festival by the Canadian filmmaker,
Allan Brown. It intrigued us and fired our little brains up. Afterwards, we bumped
into Allan and his partner in the queue for another film. They
were both really laid back and friendly and so pleased to hear that we liked <i>Silver</i>. We found ourselves discussing the Scottish independence referendum, comparing and contrasting this with
the campaign for independence for their own Québécois people. Something about the film and
our brief conversation got us thinking that it was finally time for us to try this out for ourselves. So we did a lot of research and got hold of some Super 8 equiptment and stock on eBay and started experimenting with analogue filmmaking.<br />
<br />
Later, in March 2017, we screened a short by Allan Brown, <i>Uncle Cluck</i>, as part of the Avant Kinema / Film Panic <i>Moon Moths</i> event in the Scottish Borders.<br />
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<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="180" mozallowfullscreen="" src="https://player.vimeo.com/video/153688663" webkitallowfullscreen="" width="320"></iframe>
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<span style="font-size: x-small;"><a href="https://vimeo.com/153688663">SILVER_trailer</a> on <a href="https://vimeo.com/">Vimeo</a>.</span></div>
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AK - Who are you? Where did you grow up and where are you now based?<br />
<br />
AB - I'm a Canadian, Quebecois, who was born in Shawinigan and has been based in Montreal for 30 plus years.<br />
<br />
AK - Could you tell us about the various films you've premiered at Alchemy Film and Moving Image Festival over the last few years?<br />
<br />
AB - I've had 3 films screen at Alchemy (2016, 17, 18). <i>Silver</i>, <i>Re-mesmerizing from Ormstown to parc Lafontaine</i> and most recently <i>Wishful Thinking</i>. <i>Silver</i> was the most significant and memorable since it was the world premiere of my one and only feature film. Alchemy has become an important festival to me. I felt very welcomed and comfortable when I was there.<br />
<br />
AK - Could you give us a brief history of your involvement with creating moving image works?<br />
<br />
AB - It's a bit of a rocky road but basically I was in CEGEP (junior college) and was a disheartened science student that needed a fresh start. I switched to a creative arts program and discovered filmmaking. A year later I was at University studying film production and becoming disheartened again by the politics of the program so I switched to literature then anthropology and in a long roundabout way found myself in film studies to complete my BA as a part time student. During my studies in literature and anthropology, I continued to make films; working with a group of friends in a similar position. We relied somewhat on NFB (National Film Board of Canada) grant programs for emerging artists for services like processing and mixes. This being the late 80s early 90s, any sort of moving image production was prohibitively expensive, so I came to a crossroads. Thus after completing a few films with NFB grants, I switched my artistic creation to woodworking where I built furniture. I returned to film work in 2004 during the 'digital' revolution. I continued to shoot in film but I was able to edit and finish digitally and most importantly I could work the sound without having to go into a crazy expensive mixing studio for a 6 track mix. Thus, since 2004, I've been producing work on a consistent basis.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-nVCLLBoqImjxlBxojO0811xu1dNRXrGXYAPcL5wYjkzVD4DwQRelhNTkqr4awcCBy98FptYn8ByCH859l2OsiDA7HKq7iIUMBL9goCUKAfQ720Q_N92etpZpyF26p7UlmLQKZ0M-QfRY/s1600/AllanBrown.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="500" data-original-width="500" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-nVCLLBoqImjxlBxojO0811xu1dNRXrGXYAPcL5wYjkzVD4DwQRelhNTkqr4awcCBy98FptYn8ByCH859l2OsiDA7HKq7iIUMBL9goCUKAfQ720Q_N92etpZpyF26p7UlmLQKZ0M-QfRY/s200/AllanBrown.jpeg" width="200" /></a> </div>
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AK - What were the major influences in the arts and in life which encouraged you to become involved with this field?<br />
<br />
AB - Foundational influences are primarily a couple of amazing teachers in college, a couple of friends from the same era of my early twenties and various jobs in oil refineries and a steel foundry and my birth town of Shawinigan which was the most industrialized town for its size in Canada and continues to this day to be a huge influence in how I see the landscapes of the world. As for influences from the art world, there are many many but foundational influences are the New German Cinema of the 70s, eastern European writers like Gombrowicz and Schulz, expressionistic painting, musique actuelle, industrial anything and brutalist architecture.<br />
<br />
AK - What does the word 'experimental' mean to you?<br />
<br />
AB - For me, it's like saying 'independent'. It’s just a way to categorize films for the viewer.<br />
<br />
AK - At Avant Kinema we have a particular interest in low budget, DIY or LoFi forms of creativity. What are your thoughts on films, music, zines or other artworks created in this way? Is this a way that you personally like working? If yes, would that be for aesthetic reasons or more because of budgetary constraints? <br />
<br />
AB - DIY or Lofi are definitely a choice. I think of my films as artisanal. I have no interest in working in any other way. Budgetary constraints are always an issue no matter the size of the production. The more money you have the more you spend. Things can be pretty upside down now as people can spend loads of $$ trying to make something look LoFi. In the end, it's a choice of control. I don't have anyone telling me how to make my films. If someone gives me a whack of money, maybe I'll change my mind.<br />
<br />
AK - What technology or processes do you favour in your work? In what ways do you make use of digital and/or analogue equipment or methods of working? Do you work exclusively with one or the other or do you like to experiment with a combination of both digital and analogue?<br />
<br />
AB - I'm not a film purist, so I make use of both. My shooting format is almost exclusively film (S8 or 16mm). My editing is done entirely in digital and my screening format is pretty much always digital except for one off S8 reel projections (in camera editing). For the moment, it works for me.<br />
<br />
AK - Do you think that analogue photography / filmmaking still has a place in the 21st Century? <br />
<br />
AB - As long as film stock is being produced, filmmakers will use it. If labs start disappearing, there's a problem. Not everyone wants to process their own stock. <br />
<br />
AK - Could you talk us through the whole process of how you generally go about creating a work, from the initial concepts through to the finishing touches? <br />
<br />
AB - I don't have a set method because every project has its own way of developing. It will start with a bit image as much as it starts with a sound bite that's interesting. I just try not to force a project. I usually know when it's not working so I leave it be. It'll resurface at some point if it's meant to. I do like to randomly shoot 'events' (horse races, county fairs, demolition derby etc) without any purpose at the moment but could become something.<br />
<br />
I jump back and forth between working the image or sound. There's always one that leads the other. Most of my editing is very laborious, so I know what I want to do, it just takes time to get there and lots of trial and error. When it's time to shut it down, I don't labour over that. I think it good to let go without too much trouble.<br />
<br />
AK - What methods do you use to generate ideas and stimulate your creativity?<br />
<br />
AB - My mind tends to wander and be over stimulated so it's more about focusing down... putting some headphones on, listen to Zoviet France, and read something I know nothing about... well at least that seems to work at the moment.<br />
<br />
AK - Could you tell us about your experiences of coming to Scotland to attend the Alchemy Film and Moving Image Festival for the premier of your first feature, Silver?<br />
<br />
AB - Premiering <i>Silver</i> at Alchemy was awesome. Having a feature is a whole different experience than a short. The cliff is higher. It was my first time in Scotland so everything was wonderfully new. Also, the festival being in a town like Hawick made it very special. Everyone was super welcoming and interesting. It felt real.<br />
<br />
AK - Have you been able to get much in the way of funding - towards travel to festivals or for your filmmaking in general?<br />
<br />
AB - I haven't applied for too many production grants. I've received a couple of research grants and several travel grants. Arts funding is a difficult landscape to navigate.<br />
<br />
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">AK - Thank you very much for taking the time to answer our questions, Allan. x </span></span><br />
<br />
<div style="text-align: center;">
<a href="https://vimeo.com/framebruiser" target="_blank"><b>WATCH ALLAN BROWN </b></a></div>
<div style="text-align: center;">
<a href="https://vimeo.com/framebruiser" target="_blank"><b>FILMS ON VIMEO</b></a></div>
Athene Noctuahttp://www.blogger.com/profile/15138777467179453959noreply@blogger.com0tag:blogger.com,1999:blog-2808512155163057333.post-85751647124140220252018-05-17T18:22:00.000-07:002018-06-03T06:09:21.279-07:00Interview w/ Grant McPhee on psychological thriller, Far From The Apple Tree<br />
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<i><span style="color: black;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">As
part of a series of interviews and articles on processes of Creative
Collaboration, we spoke to Scottish director, Grant McPhee, on how
he went about developing a workable script with screen-writer, Ben
Soper, during the early stag</span></span></span><span style="color: black;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">es
of </span></span></span><span style="font-family: "trebuchet ms" , sans-serif;">his
forthcoming feature, the atmospheric, psychological thriller, </span><span style="color: black;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><b>Far
From The Apple Tree</b></span></span></span><span style="color: black;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">.</span></span></span></i><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><span style="color: black;"> </span></span></span><br />
<br />
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><span style="color: black;">In
March 2017 we were contacted by Grant McPhee, the Lothians-based
feature director widely known for </span><span style="color: black;"><i>Big
Gold Dream</i></span><span style="color: black;">, an in-depth and
painstakingly compiled 2015 documentary on the history of the
Scottish Post-Punk scene, and the Indie record labels, Fast Product
and Postcard Records.</span></span></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><span style="color: black;">Grant
had enjoyed reading an Avant Kinema blog post we'd written on our
recent </span></span></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><span style="color: black;">experiments with expired Super 8 film-stock, Caffenol
home-processing and handcrafted film. He asked us if we would be
interested in joining the shoot for his forthcoming feature for a
couple of days to help build an archive of analogue footage he could
use in the production. We were bowled over to be invited to take part
in a project of this scale and immediately agreed.</span></span></span><br />
<br />
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><span style="color: black;">Our
own short films are generally exuberant, zero budget endeavours,
created by a crew of two: </span><span style="color: black;"><i>us</i></span><span style="color: black;">.
We write, shoot, direct, usually perform, edit and score everything
ourselves. This is our Big Collaboration and it's the way we've
always worked. We've never really had the resources to expand our
team beyond the binary and we're not sure we'd want to relinquish
that control anyway. So, naturally, we were excited to venture into
that other, alternative realm and find out first-hand how a
full-blown feature, with reasonable budget and professional crew
attached actually functions.</span></span></span><br />
<br />
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><span style="color: black;">It
was a fascinating experience, which we plan to write about in-depth
in a later article, but essentially our part in the overall mechanism
of the production was to join the Second Unit for the first two days
- along with performer, Ashley Sutherland, and photographer, Lucas
Kao - to work on capturing specific material, whilst Grant directed
the activities of the First Unit, shooting scenes with the lead
actors, </span><span style="color: black;"><span style="font-style: normal;"><span style="font-weight: normal;">Sorcha
Groundsell and Victoria Liddelle. Our own particular remit was to
help generate an authentic archive of analogue footage using vintage
</span></span></span><span style="color: #1d2129;"><span style="font-style: normal;"><span style="font-weight: normal;">Super
8 and 16mm cameras and various film-stocks, which we home-processed
on-set using Caffenol (coffee, vitamin c, washing soda) and a C41
kit, alongside gaffer / operator, Mihail Ursu. We later handcrafted
some of this material by directly scratching and painting the film.<span style="font-size: x-small;"> </span></span></span></span></span></span><br />
<br />
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><span style="color: #1d2129;"><span style="font-style: normal;"><span style="font-weight: normal;"><span style="font-size: x-small;">You can see some hints of this raw analogue footage in the following clip: </span></span></span></span></span></span></div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div style="text-align: center;">
<iframe allowfullscreen="" frameborder="0" height="210" src="https://videopress.com/embed/juSQWJDx" width="373"></iframe>
<script src="https://videopress.com/videopress-iframe.js"></script></div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><span style="color: #1d2129;"><span style="font-style: normal;"><span style="font-weight: normal;">Our
own particular specialism was only a small part of a much larger
whole involving an array of formats, including 35mm, 16mm, 8mm,
Betamax, Pixelvision, and Red, which Grant McPhee skilfully captured,
over a nine day shoot, in collaboration with his crew.</span></span></span></span></span><br />
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><span style="color: #1d2129;"><span style="font-style: normal;"><span style="font-weight: normal;">Unless
you're talking about a solo act (the works of some power hungry
Auteur Maximus, creating expanded selfies in seclusion) then you
could say that </span></span></span><span style="color: #1d2129;"><i><span style="font-weight: normal;">all
</span></i></span><span style="color: #1d2129;"><span style="font-style: normal;"><span style="font-weight: normal;">films
are, in essence, collaborative ventures. Yes, t</span></span></span><span style="color: black;"><span style="font-style: normal;"><span style="font-weight: normal;">here
are hierarchies in place - the producers and the director are, of
course, in charge of keeping everyone focussed on delivering </span></span></span><span style="color: black;"><i><span style="font-weight: normal;">the
Grand Vision</span></i></span><span style="color: black;"><span style="font-style: normal;"><span style="font-weight: normal;">
as successfully as possible - but it really is a team effort.</span></span></span></span></span><br />
<br />
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><span style="color: black;"><span style="font-style: normal;"><span style="font-weight: normal;">For
</span></span></span><span style="color: black;"><i><span style="font-weight: normal;">Far
From The Apple Tree</span></i></span><span style="color: black;"><span style="font-style: normal;"><span style="font-weight: normal;">,
as with most film projects, the first stage of this collaboration
began with the concept and the script.</span></span></span></span></span><br />
<br />
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><span style="color: black;"><span style="font-style: normal;"><span style="font-weight: normal;">Before
joining the production</span></span></span><span style="color: black;">,
one of the producers, Olivia Gifford, sent us the latest draft of Ben
Soper's script, which he had written in consultation with Grant. We
read this quickly and were both impressed with the vibrancy and the
increasingly intense atmosphere captured in the text. Even just as
typed words in a pdf file we got a strong sense of this story as a
visually striking chiller, very much set in the contemporary world
but with the look and the feel of an arthouse 1970s / </span><span style="color: black;"><i>Wicker
Man</i></span><span style="color: black;"> era horror.</span></span></span><br />
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><span style="color: black;">We
wanted to find out more about how this intriguing script and the
concepts behind it had initially been created and invited Grant
McPhee to answer a few of our questions on this aspect. </span></span></span><br />
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><span style="color: black;"><br /></span></span></span>
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><span style="color: black;"><br /></span></span></span></div>
<div class="western" style="margin-bottom: 0cm;">
<div style="text-align: center;">
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><span style="color: black;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3zre0KTCRSMhZfR572roVMmHrIYyDdtFR-IMencYTNfGTVNqPpWi20M-B0Kd5eTV4Ng_SMKd1RY1xNYdnNC5dCVWblJhKGD_9b2f-gwAFfUcwJG4-96mmxtqDbs9xhLxbCTD-NA7h2XQn/s1600/GrantMcPheeWithCamera.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="397" data-original-width="541" height="290" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3zre0KTCRSMhZfR572roVMmHrIYyDdtFR-IMencYTNfGTVNqPpWi20M-B0Kd5eTV4Ng_SMKd1RY1xNYdnNC5dCVWblJhKGD_9b2f-gwAFfUcwJG4-96mmxtqDbs9xhLxbCTD-NA7h2XQn/s400/GrantMcPheeWithCamera.jpg" width="400" /></a> </span></span></span>
</div>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br />
<span style="color: black;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">AK
- Where did </span></span></span><span style="color: black;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><i>Far
From The Apple Tree</i></span></span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><span style="font-size: small;">
begin? When we got involved in the project, everything seemed to be
pretty much in place, as far as the producers, crew and actors. Ben
Soper's script seemed to have already gone through several rewrites.
At the very start of the project, did Ben bring an embryonic version
of the script to you or did you work on the concept together?</span> </span></span><br />
<br />
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">GMcP
- I approached Ben, as I've known him for many years, and knew that
he and I like similar films, which is always a good start.</span></span><br />
<br />
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">AK
- Which films and TV in particular do you both share a love for?</span></span><br />
<br />
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">GMcP
- This is p</span></span><span style="color: #4b4f56;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><span style="font-style: normal;"><span style="font-weight: normal;">robably
more myself, and definitely some Ben will not like, so don't want to
do him a disservice with this often uncool list, from the top of my
head. All probably have a good chunk in </span></span></span></span></span><span style="color: black;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><i><span style="font-weight: normal;">Far
From The Apple Tree</span></i></span></span></span><span style="color: black;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><span style="font-style: normal;"><span style="font-weight: normal;">:
</span></span></span></span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><i>Danger
Diabolik</i></span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">,
</span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><i>Modesty
Blaise</i></span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">,
</span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><i>Smashing
Time</i></span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">,
</span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><i>Performance</i></span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">,
</span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><i>Fascination</i></span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">,
</span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><i>The
Living Dead Girl</i></span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">,
</span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><i>The
Wicker Man</i></span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">,
</span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><i>Flashdance</i></span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">,
</span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><i>Top
Gun</i></span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">,
</span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><i>Far
From the Madding Crowd</i></span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">,
</span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><i>Don't
Look Now</i></span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">,
</span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><i>Five
Dolls For an August Moon</i></span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">,
</span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><i>Vampiros
Lesbos</i></span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">,
</span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><i>Carnage</i></span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">,
</span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><i>Pied
Piper</i></span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">
(Donovan), </span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><i>Nosferatu</i></span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">
(Herzog, most of his 70s), </span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><i>Cathy
Come Home</i></span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">,
</span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><i>Lucifer
Rising</i></span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">,
</span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><i>The
Asphyx</i></span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">,
</span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><i>Up
The Junction</i></span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">,
</span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><i>The
Avengers</i></span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">,
</span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><i>The
Final Programme</i></span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">,
</span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><i>Zardoz</i></span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">,
</span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><i>Psychomania</i></span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">,
</span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><i>Clockwork
Orange</i></span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">,
</span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><i>Harold
and Maude</i></span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">,
</span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><i>Dr
Phibes</i></span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">,
</span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><i>Betty
Blue</i></span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">,
</span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><i>Diva</i></span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">,
</span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><i>Phenomena</i></span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">,
</span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><i>Stage
Fright</i></span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">,
</span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><i>Demons</i></span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">,
</span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><i>Man
Who Fell To Earth</i></span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">,
</span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><i>Midnight
Cowboy</i></span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">,
</span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><i>Demon
Seed</i></span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">,
</span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><i>Witchfinder
General</i></span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">,
</span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><i>The
Iron Rose</i></span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">,
</span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><i>Opera</i></span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">,
</span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><i>The
Big Blue</i></span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">,
</span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><i>Blood
on Satan’s Claw</i></span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">,
</span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><i>Nikita</i></span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">,
</span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><i>Deep
End</i></span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">,
</span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><i>Tommy</i></span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">,
</span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><i>Willy
Wonka</i></span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">,
</span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><i>Deep
Red</i></span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">,
</span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><i>Suspiria</i></span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">,
</span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><i>Tombs
of the Blind Dead</i></span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">,
</span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><i>Frantic</i></span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">
and ‘80s Photo Fashion Movies.</span></span><br />
<br />
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">AK
– So, other than this exhaustive list of shared film and TV loves,
how did this project get kickstarted?</span></span><br />
<br />
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">GMcP
- A few years previously I'd read a feature script which Ben had
written that I was going to work on as the cinematographer. That film
was unfortunately cancelled but I thought the </span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><i>Apple
Tree</i></span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">
project would be a good opportunity to work with him as I really
loved the other script he'd written. I'd made two slightly non-linear
features – both experiments in trying to combine my love of music
videos and minimalist composers with 60s/70s Euro Horror/Pop Films
mixed with Ken Loach. Neither were fully successful as the scripts
were never fully realised to the extent they needed to be. I wanted
something loose which could be improvised but not, err made up like
the previous efforts were. Basically I needed a well written and
solid story to base my ideas around, and have them toned down to be a
bit more accessible. I thought Ben was the right person for this! A
lot of this was all based on whim and feel, which is how a lot of the
film was approached. Every film should be more than just a 90 minute
DVD, and I like to think of my films as entire projects where the
full process is the main desire. A film which people can later watch
is a nice bonus, so this is how the </span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><i>Apple
Tree</i></span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">
project, began and it's still developing.</span></span><br />
<br />
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">AK
– </span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><span style="font-size: small;">What
did that initial part of the process involve?</span> </span></span><br />
<br />
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">GMcP
- Ben is a far better writer than I am, and part of making a film is
getting people who can do things better than you. I presented him
with some themes and he sent over a few different story ideas which
he could base a script on, so I picked the one I liked best. This
would eventually become the </span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><i>Apple
Tree</i></span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">
film.</span></span><br />
<br />
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">AK
– How did you both move those ideas forward towards a working
script?</span></span><br />
<br />
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">GMcP
- Ben would present further ideas via email and skype discussions
with myself suggesting what worked for me and what didn't. Followed
by further bouncing back.</span></span><br />
<br />
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">AK
- Was a lot of that work just the pair of you trying to narrow down
exactly what film it was you wanted to make?</span></span><br />
<br />
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">GMcP
- For these micro features you have to be 100% passionate about what
you are doing as it takes so much energy out of you, otherwise you'll
just give up, so it's important you get what works for you at the
start. After a little while Ben had an embryonic script that felt
right and I could put all my effort into. He was incredibly
understanding about this slightly unusual situation. It was quite
different from the final shooting script.</span></span><br />
<br />
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">AK
- How long did it take to turn these initial ideas into a shooting
script?</span></span><br />
<br />
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">GMcP
- Ben worked hard but the overall script writing period was very
short. Not as short as the one week/two weeks of my other dramas, but
short. nonetheless. This would have been in January 2017, and we
chose a shoot date of March which resulted in pre-production
happening during the script writing.</span></span><br />
<br />
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">AK
- That's a pretty quick turn around. That level of enthusiasm and
forward momentum must seep through the whole production.</span></span><br />
<br />
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">GMcP
- There was a definite changing of production circumstances
reflecting and making their way into the script, which I loved. I
like to work quickly as it keeps the excitement level up and having
everything else go on at the same time only added. It was purposely
never 100% finished. The most exciting parts of making a film, I
think, are the moments when you fill in the gaps on set, that's when
I think you get into an interesting and creative rhythm.</span></span><br />
<br />
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">AK
- Were you already thinking of making use of multiple formats, both
the analogue and the digital, at this stage? Are you able to picture
the shoot or the edit during the scripting stage?</span></span><br />
<br />
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">GMcP
- During the writing an initial problem arose as one of the main
ideas I initially sent to Ben was very much wanting to have a
character finding archive footage of a relative, and through
continuous watching discovering secret messages hidden within.
Because this would feature heavily it opened up the options of the
non-linear and liminal structure I wanted and allowed us to play with
those missing onset gaps. And this was very important for the script,
as we knew there would be refinements and new ideas in the edit. The
editing process is incredibly important to me, as that's where a lot
of magic happens. So I was very aware of the options available here,
and the options available in the writing. In some ways they are the
same to me, just at different points in time.</span></span><br />
<br />
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">AK
- That's an interesting way of looking at it.</span></span><br />
<br />
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">GMcP
- From working as a crew member I know the importance of shooting for
the edit, and tight scheduling, but for me there's an important part
of the editing process - trying to fit two shots which don't cut
together and coming up with a solution that feels inspired, is often
better than planning. Sure, many times this doesn't happen, or you
end up with some structural issues but some of my favourite moments
came from this, and for that I always leave that option open. It's so
important to get a script right, but there are also so many other
parts of the process that are interconnected. A good writer and
editor can do wonders!</span></span><br />
<br />
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">AK
- Again, highlighting the collaborative nature of filmmaking.</span></span><br />
<br />
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">GMcP
- Going back to the messages hidden within the archive, the simple
option would have been making them as simple as possible but this did
not feel right for the project. The main theme in the script is
reaching for something just beyond your reach and I wanted that
reflected in nearly everything we did: an opaqueness that felt like
there was almost something of meaning there, if you stretched
yourself far enough. To further complicate our lives we decided that
our main actress would also be playing the person they would be
reacting to in these archive elements. The archives were always going
to be shot on film, and without time for them to be returned to us
from a professional lab, before we finished shooting, that issue
offered up the potential for key plot devices to be lost and the
story not make sense. Being aware of this constraint massively
reflected into what was in the film. Really there was a sense of
'what might happen' being written in, probably coming from my
documentary background. Rather than just using a video camera with a
film effect in order to guarantee we got the shots needed, the
simplest non-simple alternative option of shooting film was using
home developed film. Because of the unpredictability of this process
the results could be equally damaging if key plots were based around
them. We knew we would only have around 10 days to shoot.</span></span><br />
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<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">AK
- Does having the knowledge of those time or monetary constraints
hinder you during the scripting?</span></span></div>
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<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">GMcP
- The easy option would have been to write a tight and refined single
room horror but we wanted to always be working beyond what we thought
could be achieved, and never the easy choice. Obviously some things
had to be refined to suit our budget and location, which handily Ben
knew. This really simplified the process and made his writing much
more vivid – certainly helpful for a director. To a large extent
this location – a large country house – dictated a lot of the
drama. As a lot of story is set here it also helped production
schedules. </span></span></div>
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<br /></div>
<div class="western" style="font-style: normal; font-weight: normal; margin-bottom: 0cm;">
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">AK
– Would you mind telling us which different titles this film went
through? When we joined the project the script was entitled
</span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><i>Aberration</i></span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">.</span></span></div>
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<br /></div>
<div class="western" style="font-style: normal; font-weight: normal; margin-bottom: 0cm;">
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">GMcP
- </span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><i>The Girl in the Mirror</i> and <i>Ghost in the Night</i> were considerations. <i>Aberration</i> was a working title but always going to change.</span></span> </span></span></div>
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<br /></div>
<div class="western" style="font-style: normal; font-weight: normal; margin-bottom: 0cm;">
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">AK
– How did you settle on the title, </span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><i>Far
From The Apple Tree</i></span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">?</span></span></div>
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<br /></div>
<div class="western" style="font-style: normal; font-weight: normal; margin-bottom: 0cm;">
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">GMcP
- </span></span><span style="color: #4b4f56;"><span style="font-family: , , , , sans-serif;"><span style="font-size: small;"><span style="font-family: "trebuchet ms" , sans-serif;"><i><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><i>Far
From The Apple Tree</i></span></span></i> was chosen as I liked <i>Far from the Madding Crowd</i>, and is an appropriate line in the film. I'd prefer not to have a phrase, unique titles are preferred for many reasons, but I think it fits well.</span></span></span></span><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"> </span></span></div>
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<br /></div>
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">AK
- How closely does the finished film follow this script?</span></span><br />
<br />
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">GMcP
- Overall there were very big differences in the shooting script
compared to the end product. All of Ben's dialogue is there, there
were very few changes to that. The first two acts follow the same
story mostly as the script but the final act, as mentioned, was
always going to be adapted to circumstances. In hindsight there are
many things which could be refined and added to, though this was due
to only ending up shooting for 9 days. We could have had something
much tighter and more accessible to a wider audience but I'm glad we
stuck to our guns, as this approach allowed us to get things we'd
never be able to otherwise. We lost a lot in terms of what could be
achieved by being safer but I think what we gained made up for it.</span></span><br />
<br />
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">AK - Thank you very much for taking the time to answer our questions, Grant. x </span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAgMdPF6w9hiThLXYjeoifBgEJRZ29CTgOe6Eyp9e8f0ALROQNmKV7CXKwRnUDB4atN4PDkHYTMT9BfGXI8PYZt7m5SesavtJRZU2AOuypla0bQZAVLaVWCC6zo104kayti7AIl6Pn9fuN/s1600/Far-From-the-Apple-Tree-Poster.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1132" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAgMdPF6w9hiThLXYjeoifBgEJRZ29CTgOe6Eyp9e8f0ALROQNmKV7CXKwRnUDB4atN4PDkHYTMT9BfGXI8PYZt7m5SesavtJRZU2AOuypla0bQZAVLaVWCC6zo104kayti7AIl6Pn9fuN/s640/Far-From-the-Apple-Tree-Poster.png" width="452" /></a></div>
<div style="text-align: center;">
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<div style="text-align: center;">
<style type="text/css">P { margin-bottom: 0.21cm; }</style></div>
<iframe allowfullscreen="" frameborder="0" height="360" mozallowfullscreen="" src="https://player.vimeo.com/video/217144916" webkitallowfullscreen="" width="640"></iframe>
<a href="https://vimeo.com/217144916">Tartan 14 - Far From the Apple Tree</a> from <a href="https://vimeo.com/tartanfeatures">Year Zero : Tartan Features</a> on <a href="https://vimeo.com/">Vimeo</a>.<br />
<br />
<div style="text-align: center;">
<a href="http://www.yearzerofilmmaking.com/" target="_blank">VISIT YEAR ZERO FILMMAKING</a></div>
<div style="text-align: center;">
<a href="http://www.yearzerofilmmaking.com/" target="_blank">FOR MORE ON TARTAN FEATURES</a></div>
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<br />Athene Noctuahttp://www.blogger.com/profile/15138777467179453959noreply@blogger.com0tag:blogger.com,1999:blog-2808512155163057333.post-41027325944746510082018-05-02T05:50:00.000-07:002018-05-02T05:50:29.207-07:00Super 8 at Alchemy + Motion to Scottish Parliament
<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSc1NU8D9vTySybvvunSaMbTIUw2X2WpSCOcXAAqMdB-7mAhEGVupIEVrcDp15Mk0fdIBLUakS3-N1jiWpuhOOGvWzwOhc2giKbZig7yZCVacub62BbU7s8TzC71iLyknCfgTDepxYAf5t/s1600/Super8-Titles.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="960" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSc1NU8D9vTySybvvunSaMbTIUw2X2WpSCOcXAAqMdB-7mAhEGVupIEVrcDp15Mk0fdIBLUakS3-N1jiWpuhOOGvWzwOhc2giKbZig7yZCVacub62BbU7s8TzC71iLyknCfgTDepxYAf5t/s400/Super8-Titles.jpg" width="400" /></a><span style="font-family: Verdana, sans-serif;"> </span></div>
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<br /></div>
<div class="western" style="font-weight: normal; margin-bottom: 0cm;">
<span style="font-family: Verdana, sans-serif;">Press
Release for Avant Kinema (Sarahjane Swan & Roger Simian)'s
performance at this year's Alchemy Film and Moving Image Festival </span>
</div>
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<br />
</div>
<div class="western" style="font-weight: normal; margin-bottom: 0cm;">
<span style="font-family: Verdana, sans-serif;">>>>></span></div>
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<br />
</div>
<div class="western" style="font-weight: normal; margin-bottom: 0cm;">
<span style="font-family: Verdana, sans-serif;">May
The Fourth Be With You!</span>
</div>
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<br />
</div>
<div class="western" style="font-weight: normal; margin-bottom: 0cm;">
<span style="font-family: Verdana, sans-serif;">Borders
artist-filmmakers, Sarahjane Swan & Roger Simian, return to the
Alchemy Film and Moving Image Festival this coming Friday, 4th May,
with "Ghost Worlds (Animal Rites)", an Expanded Cinema
performance, part of the festival's free-entry "Celebrate Super
8" event at the Auld Baths.</span></div>
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<br />
</div>
<div class="western" style="font-weight: normal; margin-bottom: 0cm;">
<span style="font-family: Verdana, sans-serif;">https://alchemyfilmfestival.org.uk/2018/celebrate-super8</span></div>
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<br />
</div>
<div class="western" style="font-weight: normal; margin-bottom: 0cm;">
<span style="font-family: Verdana, sans-serif;">Sarahjane:
"We've been experimenting with analogue filmmaking for a couple
of years now and we've turned into a couple of Super 8 Geeks. It's
shocking! We buy up long-expired filmstock on ebay, shoot our films
using vintage cameras, do our own processing using household products
and even handcraft the footage by directly colouring and scratching
the film itself."</span></div>
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<br /></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg75Obvqj8WlfZGFQN4hvfZhqRqyWE1Cv5pFow_XtH4LE4zznje6gmY9PrnoH-8T9vrEnh7C85b_US80wi4MSW9DRvCvdWL8LTJyIOib6A5jp-wlRmltpvBTw11KydfMvkAPgB4qEGX7_zG/s1600/Handcrafted-JPG.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="960" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg75Obvqj8WlfZGFQN4hvfZhqRqyWE1Cv5pFow_XtH4LE4zznje6gmY9PrnoH-8T9vrEnh7C85b_US80wi4MSW9DRvCvdWL8LTJyIOib6A5jp-wlRmltpvBTw11KydfMvkAPgB4qEGX7_zG/s400/Handcrafted-JPG.jpg" width="400" /></a></div>
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<br /></div>
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<br />
</div>
<div class="western" style="font-weight: normal; margin-bottom: 0cm;">
<span style="font-family: Verdana, sans-serif;">Roger:
"Yeah, a year or two ago we uploaded an instructional video to
our Avant Kinema YouTube page. It's basically our step-by-step guide
to home-processing Super 8 film using the Caffenol recipe (cheap
coffee, vitamin c & washing soda). We just discovered the other
day that it's had 10,600 views! We had no idea. So that means there's
at least 10,600 other Super 8 Geeks out there wanting to spend their
days setting up Pop-Up Super 8 labs in their kitchens and bathrooms."</span></div>
<div class="western" style="font-weight: normal; margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="font-weight: normal; margin-bottom: 0cm;">
<span style="font-family: Verdana, sans-serif;">Sarahjane:
"It's a growing trend. Anybody can shoot a full HD, high
resolution video on their mobile - that's easy! - but it takes
determination and dedication to use all these old, abandoned 20th
century technologies, filmstocks and techniques to create something
fresh and vivid."</span></div>
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<br />
</div>
<div class="western" style="font-weight: normal; margin-bottom: 0cm;">
<span style="font-family: Verdana, sans-serif;">Roger:
"We've had some great help in this from VACMA (the Visual
Artists and Craft Maker Awards) who gave us a grant to buy more
filmstock and equipment, including a telecine machine so that we can
make digital scans of our films."</span></div>
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<br />
</div>
<div class="western" style="font-weight: normal; margin-bottom: 0cm;">
<span style="font-family: Verdana, sans-serif;">The
pair also recently received support from an unlikely source when
local MSP, Michelle Ballantyne, put forward a motion relating to
their work in the Scottish Parliament.</span></div>
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<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Verdana, sans-serif;"><span style="font-weight: normal;">Motion
S5M-09</span></span><span style="font-family: Verdana, sans-serif;"><span style="font-weight: normal;"><span style="background: transparent;">501,
lodged 12/12/17:"That the Parliament wholeheartedly applauds the
film-makers, Sarahjane Swan and Roger Simian, both of Galashiels, on
being shortlisted for the 2018 Margaret Tait Award; believes that the
Margaret Tait Award is the pinnacle of experimental moving image art
in Scotland; is aware that the eponymous award is in honour of
Margaret Tait, the eminent Orcadian film-maker, who died in 1999;
recognises that Swan and Simian </span></span></span><span style="font-family: Verdana, sans-serif;"><span style="font-weight: normal;">have
screened films throughout the UK, Europe and North America in 2017
alone, and extends its emphatic best wishes to them in their pursuit
of the award and for the future."</span></span></div>
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<br />
</div>
<div class="western" style="font-weight: normal; margin-bottom: 0cm;">
<span style="font-family: Verdana, sans-serif;">Sarahjane:
"We were quite blown away when we discovered that on line. We
couldn't work out how it had happened, but we're honoured to have our
work highlighted in this way."</span></div>
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<br />
</div>
<div class="western" style="font-weight: normal; margin-bottom: 0cm;">
<span style="font-family: Verdana, sans-serif;">Roger:
"Yes, we're more than happy to accept the support of the
Scottish Parliament in our filmmaking endeavours."</span></div>
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<br />
</div>
<div class="western" style="font-weight: normal; margin-bottom: 0cm;">
<span style="font-family: Verdana, sans-serif;">Swan
and Simian are joined in the "Celebrate Super 8" event by
Dutch filmmaker, Jaap Pieters, and Canadian, Kyle Whitehead.</span></div>
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<br />
</div>
<div class="western" style="font-weight: normal; margin-bottom: 0cm;">
<span style="font-family: Verdana, sans-serif;">Sarahjane:
"We were also invited by Alchemy to host a couple of workshops
with local kids on how to put together a video-art installation,
along with film-artist, Kerry Jones. It's mindblowing to see the
young talent out there. The kids have a real understanding of what
makes a good artwork and have come up with some great visual and
conceptial material for their installation at the Alchemy Festival."</span></div>
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<br />
</div>
<div class="western" style="font-weight: normal; margin-bottom: 0cm;">
<span style="font-family: Verdana, sans-serif;">https://alchemyfilmfestival.org.uk/2018/installations/</span></div>
<div class="western" style="font-weight: normal; margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Verdana, sans-serif;"><i><span style="font-weight: normal;">Fr@gile</span></i></span><span style="font-family: Verdana, sans-serif;"><span style="font-weight: normal;">,
by the Young Alchemy Moving Image Makers, is presented between the
3rd tand 6th May, 11am to 6pm, at the Alchemy Space, 39-41A High
Street, Hawick, TD9 9BU. The installation "</span></span><span style="font-family: Verdana, sans-serif;">explores
communication throughout the analogue and digital ages – the
barriers we face expressing ourselves in everyday life and how we
perceive and translate words and actions into our own understanding.</span><span style="font-family: Verdana, sans-serif;"><span style="font-weight: normal;">"
The project was funded by Cash Back for Communities and Youthlink
Scotland. </span></span>
</div>
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<br />
</div>
<div class="western" style="font-weight: normal; margin-bottom: 0cm;">
<span style="font-family: Trebuchet MS, sans-serif;"><span style="font-size: small;">Swan-Simian
Website: </span></span>
</div>
<div class="western" style="font-weight: normal; margin-bottom: 0cm;">
<span style="font-family: Trebuchet MS, sans-serif;"><span style="font-size: small;">http://www.thebirdandthemonkey.com/swansimian
</span></span>
</div>
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<br />
</div>
<div class="western" style="font-weight: normal; margin-bottom: 0cm;">
<span style="font-family: Trebuchet MS, sans-serif;"><span style="font-size: small;">Avant
Kinema blog: </span></span>
</div>
<div class="western" style="font-weight: normal; margin-bottom: 0cm;">
<span style="font-family: Trebuchet MS, sans-serif;"><span style="font-size: small;">http://avantkinema.blogspot.co.uk/
</span></span>
</div>
<div class="western" style="font-weight: normal; margin-bottom: 0cm;">
<br />
</div>
<div class="western" style="font-weight: normal; margin-bottom: 0cm;">
<span style="font-family: Trebuchet MS, sans-serif;"><span style="font-size: small;">Avant
Kinema on Vimeo: </span></span>
</div>
<div class="western" style="font-weight: normal; margin-bottom: 0cm;">
<span style="font-family: Trebuchet MS, sans-serif;"><span style="font-size: small;">https://vimeo.com/avantkinema
</span></span>
</div>
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<br />
</div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: Trebuchet MS, sans-serif;"><span style="font-size: small;"><span style="font-weight: normal;">Avant
Kinema Group on FaceBook: </span></span></span><span style="color: black;"><span style="font-family: Trebuchet MS, sans-serif;"><span style="font-size: small;"><i><span style="font-weight: normal;">
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<style type="text/css">P { margin-bottom: 0.21cm; }</style>Athene Noctuahttp://www.blogger.com/profile/15138777467179453959noreply@blogger.com0tag:blogger.com,1999:blog-2808512155163057333.post-37848394220325321382018-01-23T09:02:00.000-08:002019-04-16T01:40:40.935-07:00Super 8 Screenings & Zine Interview for Barcelona's Minifestival de Música Independent<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHNpe_dhNtdS6P4_IkYDwa6ysLIr2LGpEGSkqctm7dz997mWXY1b6QZPVMtIZwK6xPED-nPxGD5Y7ivgD-cC6GX0oSJ1Xe12geBltYSC1-9jc2AeXiyge_2yLNdwOuIwJxm6pDW5ZYS0mR/s1600/FANZINE+BARCELONA+MINI+2018.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1199" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHNpe_dhNtdS6P4_IkYDwa6ysLIr2LGpEGSkqctm7dz997mWXY1b6QZPVMtIZwK6xPED-nPxGD5Y7ivgD-cC6GX0oSJ1Xe12geBltYSC1-9jc2AeXiyge_2yLNdwOuIwJxm6pDW5ZYS0mR/s640/FANZINE+BARCELONA+MINI+2018.jpg" width="478" /></a></div>
<div class="iw">
<span class="gD" data-hovercard-id="minibarcelona@gmail.com" name="Minifestival de Música Independent de Barcelona"><span style="font-weight: normal;"><br /> </span></span></div>
<div class="iw">
<b><span class="gD" data-hovercard-id="minibarcelona@gmail.com" name="Minifestival de Música Independent de Barcelona">On 17th February 2018, MOSTRA DE VIDEOCLIPS RODATS EN SUPER 8 (part of the Minifestival de Música Independent de Barcelona) will be screening two of our short Super 8 films: </span><span class="gD" data-hovercard-id="minibarcelona@gmail.com" name="Minifestival de Música Independent de Barcelona"><i><span style="color: black;">Superfly Super 8 circa Nineteen Seventy Seven</span></i> and </span><i><span class="gD" data-hovercard-id="minibarcelona@gmail.com" name="Minifestival de Música Independent de Barcelona"><span class="_1fHNK"><span style="color: black;">Anna of my Seventy-Two Senses</span></span>.</span></i><span class="gD" data-hovercard-id="minibarcelona@gmail.com" name="Minifestival de Música Independent de Barcelona"> </span></b></div>
<div class="iw">
<b><span class="gD" data-hovercard-id="minibarcelona@gmail.com" name="Minifestival de Música Independent de Barcelona">In conjunction with this, one of the founders, </span><span class="gD" data-hovercard-id="minibarcelona@gmail.com" name="Minifestival de Música Independent de Barcelona">Xavier Guillaumes Pons, has interviewed us for the festival's fanzine. You can download the zine and find out more about the festival here:</span></b></div>
<div class="iw">
<b><span class="gD" data-hovercard-id="minibarcelona@gmail.com" name="Minifestival de Música Independent de Barcelona"><br /></span></b></div>
<div class="iw" style="text-align: center;">
<span style="font-size: large;"><b><a href="https://super8barcelona.wordpress.com/"><span class="gD" data-hovercard-id="minibarcelona@gmail.com" name="Minifestival de Música Independent de Barcelona">https://super8barcelona.wordpress.com</span></a></b></span></div>
<div class="iw">
<b><span class="gD" data-hovercard-id="minibarcelona@gmail.com" name="Minifestival de Música Independent de Barcelona"><br /></span></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoea4f4iAI33B6dQbh7O6jx6xeQWtaFiFiJ5wPRty92-uEfY6pEtG5X866DcZrruc_cm4bZS36PF2Ala3HXlW9OSjDeoUFjNp2ObTfath7nfNddtaML3qNhKUrg_5hqmGyitgkGb4Pr6uy/s1600/Barcelona+MiniFestival-Banner.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="350" data-original-width="1102" height="125" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoea4f4iAI33B6dQbh7O6jx6xeQWtaFiFiJ5wPRty92-uEfY6pEtG5X866DcZrruc_cm4bZS36PF2Ala3HXlW9OSjDeoUFjNp2ObTfath7nfNddtaML3qNhKUrg_5hqmGyitgkGb4Pr6uy/s400/Barcelona+MiniFestival-Banner.jpg" width="400" /></a></div>
<b><span class="gD" data-hovercard-id="minibarcelona@gmail.com" name="Minifestival de Música Independent de Barcelona">So, for the first time ever, we have a tri-lingual interview in circulation, with our musings on Super 8 filmmaking translated into Catalan, </span><span class="gD" data-hovercard-id="minibarcelona@gmail.com" name="Minifestival de Música Independent de Barcelona"><span class="_Tgc _s8w _y9e">Castilian Spanish and English, all of which we've printed below!</span></span></b><br />
<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLdT52AOtEiL-jsDEnePIN7GWQOhlnf6CxYo_cynYT81tJcclrk-i3OoV43yUhgdvkN13-lK_4YLT8NhgDqyc8lGydHSMsTPv5Eumni83-rM9BhoQwpGzAk3rBjhoLWbqt54-GEG3jKkvJ/s1600/FANZINE+BARCELONA+page+14+.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1200" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLdT52AOtEiL-jsDEnePIN7GWQOhlnf6CxYo_cynYT81tJcclrk-i3OoV43yUhgdvkN13-lK_4YLT8NhgDqyc8lGydHSMsTPv5Eumni83-rM9BhoQwpGzAk3rBjhoLWbqt54-GEG3jKkvJ/s400/FANZINE+BARCELONA+page+14+.jpg" width="300" /></a></div>
<div style="text-align: center;">
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<div style="text-align: center;">
<span class="gD" data-hovercard-id="minibarcelona@gmail.com" name="Minifestival de Música Independent de Barcelona"><span class="_Tgc _s8w _y9e"><span style="font-size: x-large;"><b><span style="color: #990000;">ENTREVISTAS</span> </b></span></span></span></div>
<b><span style="color: #990000;">CATALÀ</span> </b><br />
<div style="text-align: justify;">
<b>Perquè utilitzeu el Super 8 per a fer videoclips en ple Segle XXI?</b></div>
<div style="text-align: justify;">
<b></b><i>Feia anys que realitzem pel·lícules
experimentals en formats digitals, però sempre havíem pensat que seria
genial provar el cinema analògic. Ens encanta la textura i l’atmosfera,
les veladures i les ratlles. No sabíem el que implicaria ni el que
costaria, de manera que ho anàvem deixant de banda. Però l´any 2016, vam
veure una pel·lícula de ciència ficció Super-Lo-Fi i experimental al
Festival d’Alchemy Film and Moving Image a Scottish Borders, anomenat
“Silver” del cineasta experimental canadenc, Allan Brown. Ens va
intrigar i entusiasmar. Després, ens vam trobar amb en Allan Brown i la
seva parella a la cua d’un cinema. Tots dos eren molt agradables i van
estar molt contents d’escoltar que ens havia agradat la seva pel·lícula.
Nosaltres els parlarem sobre el referèndum d’independència escocesa i
ells sobre la campanya d’independència dels ciutadans quebequesos. També
vàrem parlar una mica de Catalunya. La pel·lícula d’Allan Brown i la
nostra breu conversa amb ell ens va fer pensar: “hem de provar-ho”. Així
que vam investigar i finalment vàrem comprar alguns equips barats
a Ebay i un paquet prepagat de cartutxos Kodak TRI-X i Vision3,
incloent-hi el processament i escaneig en alta definició a Gauge Film. I
ens vàrem fer adictes immediatament! La nostra primera pel·lícula,
“SuperFly Super 8 circa Nineteen Seventy Seven”, va funcionar bé per a
nosaltres. Va ser seleccionada per al concurs del curtmetratges del
Festival de Cinema d’Edimburg i es va projectar al London Short Film
Festival. “Anna of my Seventy Two Senses (Merzfrau III)” va ser la
nostra experiència Dadaista amb pel·lícula revelada a casa
amb Caffenol (cafè, vitamina C i carbonat de sodi) que després varen
ratllar i pintar a mà directament la pel·lícula.</i></div>
<div style="text-align: justify;">
<i> </i><b> </b></div>
<div style="text-align: justify;">
<b>Quines càmares heu utilitzat per a rodar-los?</b></div>
<div style="text-align: justify;">
<b></b><i>Les nostres primeres càmeres van ser una Canon 514XL i una AGFA FAMILY. Ara utilitzem una sonora Sankyo, que és genial.</i></div>
<div style="text-align: justify;">
<i><br /></i><b>Els vostres clips són força experimentals, expliqueu-nosquines tècniques i emulsions utilitzeu.</b></div>
<div style="text-align: justify;">
</div>
<div style="text-align: justify;">
</div>
<div style="text-align: justify;">
</div>
<div style="text-align: justify;">
</div>
<div style="text-align: justify;">
</div>
<div style="text-align: justify;">
<b></b><i>No tenim gaires diners, i ens
adonarem que podíem comprar d’alguns estocs de pel·lícula Kodachrome 40
caducada a granel, cosa que ens permetria rodar molta pel·lícula. També
vam voler informar-nos sobre com revelar-ho nosaltres mateixos, cosa
que reduiria encara més els costos. Ja no es pot processar en color
el Kodachrome 40 en color, per però sí que es pot produir un negatiu de
Blanc i negra amb la recepta de Caffenol. Ens agrada l’art Lo-Fi de
totes maneres, així que l’aspecte granulat i ratllat no ha estat mai un
problema per a nosaltres.</i></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<b>Teniu pensar seguir rodant més projectes en Super 8?</b></div>
<div style="text-align: justify;">
<b></b><i>Sí, tenim previst rodar molt més
en Super 8 o 16mm. Ens encanta. Volem provar més processos de color
utilitzant productes químics C41.</i></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<b>Penseu que el Super 8 te futur per a artistes o creadors audiovisuals professionals o amateurs?</b></div>
<div style="text-align: justify;">
<i>El Super 8 definitivament té un bon
futur per a artistes i cineastes, fins i tot en el segle XXI. Es pot
utilitzar de moltes maneres. Si vols, pots ser un purità analògic i no
utilitzar mai equipaments o processos digitals. O pots crear obres d’art
o obres experimentals noves amb un híbrid analògic i digital. Això ens
resulta molt interessant: tant allò que és vell com allò que és nou.</i></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<b>Els vostres pares tenien càmera de Super 8? O com va ser el vostre primer contacte amb el petit format cinematogràfic?</b></div>
<div style="text-align: justify;">
<i>No, els nostres pares no tenien cap
equip de cinema quan érem petits. Teníem familiars amb molts equips
fotogràfics, però feien fotografies, no pel·lícules. El nostre primer
contacte amb el cinema amateur va ser quan, com a adolescents,
aconseguírem agafar càmeres de vídeo. Era l’era analògica, per la qual
cosa l’edició consistia a copiar imatges de la càmera de vídeo a un
altre vídeo, i utilitzar el botó de pausa als punts d’edició. Va ser
molt desconcertant i sempre hi havia molts defectes i errors, però hem
après molt. Més tard, l’arribada de la filmació i l’edició digital va
fer-ho tot més fàcil, i els resultats eren de millor
qualitat. Sarahjane va intentar provar una càmera Super 8 qua era
estudiant d’art, filmant imatges d’aus en un viatge a Amsterdam, però, a
part d’això, la nostra primera experiència en la realització de Super 8
va ser realment quan vam comprar l’equip i la pel·lícula Kodachrome i
vam provar-ho fer tot per nosaltres mateixos.</i></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiELPhpzj6hOEw8pHKNwcJr0lQibLoeHVs9dQkynShs6wUXTovmzdYOJPU-RkKwq4q1Lq90LmR7-P7wtON6PkRFviOay1QSG0fb6ed6xQHzvD6EC0ivioHmXFBTOmY8e7x_VGztPzu5lweT/s1600/FANZINE+BARCELONA+page+15.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1198" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiELPhpzj6hOEw8pHKNwcJr0lQibLoeHVs9dQkynShs6wUXTovmzdYOJPU-RkKwq4q1Lq90LmR7-P7wtON6PkRFviOay1QSG0fb6ed6xQHzvD6EC0ivioHmXFBTOmY8e7x_VGztPzu5lweT/s400/FANZINE+BARCELONA+page+15.jpg" width="298" /></a><i> </i></div>
<div style="text-align: justify;">
<br />
<span style="color: #990000;"><b>CASTELLANO</b></span></div>
<i> </i><b> </b><br />
<b>¿Porque utilizar el Super 8 para hacer videoclips en pleno Siglo XXI?</b><i><br />Hacía años que realizabamos películas
experimentales en formatos digitales, pero siempre habíamos pensado que
sería genial probar el cine analógico. Nos encanta la textura y la
atmósfera, las veladuras y las rayas. No sabíamos lo que implicaría ni
lo que costaría, por lo que lo íbamos dejando de lado. Pero el año 2016,
vimos una película de ciencia ficción Super-Lo-Fi y experimental en el
Festival de Alchemy Film and Moving Image en Scottish Borders, llamada
“Silver” del cineasta experimental canadiense, Allan Brown. Nos intrigó y
entusiasmó. Después, nos encontramos con Allan Brown y su pareja en la
cola de un cine. Ambos eran muy agradables y estuvieron muy contentos de
escuchar que nos había gustado su película. Nosotros les hablaremos
sobre el referéndum de independencia escocesa y ellos sobre la campaña
de independencia de los ciudadanos quebequenses. También hablamos un
poco de Cataluña. La película de Allan Brown y nuestra breve
conversación con él nos hizo pensar: “tenemos que probarlo”. Así que
investigamos y finalmente compramos algunos equipos baratos en Ebay y un
paquete prepagado de cartuchos Kodak TRI-X y Vision3, incluyendo el
procesamiento y escaneo en alta definición en Gauge Film ¡Y nos hicimos
adictos inmediatamente! Nuestra primera película, “Superfly Super 8
circa Nineteen Seventy Seven” funcionó bien para nosotros. Fue
seleccionada para el concurso del cortometrajes del Festival de Cine de
Edimburgo y se proyectó en el London Short Film Festival. “Anna of my
Seventy Two Senses (Merzfrau III)” fue nuestra experiencia dadaísta con
película revelada en casa con Caffenol (café, vitamina C y carbonato de
sodio) que después rayamos y pintamos a mano directamente sobre la
película .</i>
<br />
<br />
<b>¿Qué cámaras ha utilizado para rodar los clips?</b><i><br />Nuestras primeras cámaras fueron una Canon 514XL y una AGFA FAMILY. Ahora utilizamos una sonora Sankyo, que es genial.</i><br />
<i></i><br />
<div style="text-align: justify;">
<i><br /></i></div>
<b>Vuestros clips son bastante experimentales ¿qué técnicas y emulsiones utilizas?</b><i><br />No tenemos mucho dinero, y nos dimos
cuenta que podíamos comprar de algunos stocks de película Kodachrome 40
caducada a granel, lo que nos permitiría rodar mucha película. También
quisimos informarnos sobre cómo revelarlo nosotros mismos, lo que
reduciría aún más los costes. Ya no se puede procesar en color el
Kodachrome 40, pero sí se puede producir un negativo de Blanco y negra
con la receta de Caffenol. Nos gusta el arte Lo-Fi de todos modos, así
que el aspecto granulado y rayado no ha sido nunca un problema para
nosotros.</i><br />
<i></i><br />
<div style="text-align: justify;">
<i><br /></i></div>
<b>Por lo que explicáis, tenéis previsto seguir rodando más proyectos en Super 8</b><i><br />Sí, tenemos previsto rodar mucho más
en Super 8 o 16mm. Nos encanta. Queremos probar más procesos de color
utilizando productos químicos C41.</i><br />
<i></i><br />
<div style="text-align: justify;">
<i><br /></i></div>
<b>¿Pensáis que el Super 8 tiene futuro para artistas o creadores audiovisuales profesionales y/o amateurs?</b><i><br />El Super 8 definitivamente tiene un
buen futuro para artistas y cineastas, incluso en el siglo XXI. Se puede
utilizar de muchas maneras. Si quieres, puedes ser un puritano
analógico y no utilizar nunca equipamientos o procesos digitales. O
puedes crear obras de arte u obras experimentales nuevas con un híbrido
analógico y digital. Esto nos resulta muy interesante: tanto lo viejo
como lo nuevo.</i><br />
<i></i><br />
<div style="text-align: justify;">
<i><br /></i></div>
<b>Una curiosidad ¿Vuestros padres tenían cámara de Super 8? O cómo fue su primer contacto con el pequeño formato cinematográfico?</b><i><br />No, nuestros padres no tenían ningún
equipo de cine cuando éramos pequeños. Teníamos familiares con muchos
equipos fotográficos, pero hacían fotografías, no películas. Nuestro
primer contacto con el cine amateur fue cuando, como adolescentes,
conseguimos coger cámaras de vídeo. Era la era analógica, por lo que la
edición consistía en copiar imágenes de la cámara de vídeo a otro vídeo,
y utilizar el botón de pausa en los puntos de edición. Fue muy
desconcertante y siempre había muchos defectos y errores, pero hemos
aprendido mucho. Más tarde, la llegada de la filmación y la edición
digital hizo todo más fácil, y los resultados eran de mejor calidad.
Sarahjane intentó probar una cámara Super 8 como estudiante de arte,
filmando imágenes de aves en un viaje a Amsterdam, pero, aparte de eso,
nuestra primera experiencia en la realización de Super 8 fue realmente
cuando compramos el equipo y la película Kodachrome y probamos hacerlo
todo por nosotros mismos</i>.<br />
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<span style="color: #990000;"><b>ENGLISH</b></span></div>
<b><br />Why did you decide
to shoot your clips in Super 8?</b><br />
<div class="western" style="margin-bottom: 0.5cm;">
<style type="text/css">P { margin-bottom: 0.21cm</style><i>We've been making
experimental digital films for years but always thought it would be
great to try out analogue filmmaking. We love the texture and
atmosphere, the light-leaks and scratches. We didn't know what it
would involve or what it would cost, so we kept putting it off. Then,
in 2016, we watched a very Lo-Fi and experimental Super 8 science
fiction film at the Alchemy Film and Moving Image Festival in the
Scottish Borders, called "Silver" by the Canadian
experimental filmmaker, Allan Brown. It intrigued us and excited us.
Afterwards, we bumped into Allan Brown and his partner in the queue
for another film. They were both very nice and so pleased to hear
that we liked the film. We spoke about the Scottish independence
referendum. They spoke about the campaign for independence for their
own Québécois people. We also spoke about Catalonia. Something
about Allan Brown's film and our brief conversation made us think:
"We've really got to try this out!" So we did a lot of
research, bought some cheap equipment on Ebay and a prepaid package
for TRI-X and Vision3 carts, including processing and HD scans from
Gauge Film and we were immediately addicted. Our first film,
"SuperFly Super 8 circa Nineteen Seventy Seven", did well
for us. It was shortlisted for the Edinburgh Film Festival short film
challenge and screened at London Short Film Festival. "Anna of
my Seventy Two Senses (Merzfrau III)" was our DADAist experiment
with home-processing film in Caffenol (coffee, vitamin c &
washing soda) which we then handcrafted by directly scratching and
painting the film.</i></div>
<div class="western" style="margin-bottom: 0cm;">
<b>What camera did you use? </b></div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<style type="text/css">P { margin-bottom: 0.21cm; }</style>
</div>
<div class="western" style="margin-bottom: 0.5cm;">
<i>We started out with a
Canon 514XL and an AGFA Family. We now use a Sankyo Sound, which is
brilliant.</i></div>
<div class="western" style="margin-bottom: 0cm;">
<b>You use
expired film stocks... why? Is it a great experience for you? </b></div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<style type="text/css">P { margin-bottom: 0.21cm; }</style>
</div>
<div class="western" style="margin-bottom: 0.5cm;">
<i>We don't have much
money. We realised that buying some expired Kodachrome 40 stock in
bulk would allow us to shoot a lot of film but still keep costs down.
We also wanted to find out about processing ourselves, which would
bring down the costs even more. You can't process Kodachrome 40 stock
in colour any more but we found out about producing a B&W
negative using the Caffenol recipe. We like Lo-Fi art anyway, so the
grainy, scratchy look wasn't a problem to us.</i></div>
<div class="western" style="margin-bottom: 0.5cm;">
<b>Are you planning to make more
productions in this format? Do you think it's a format with
a future for artists or/and professional filmakers?</b></div>
<div class="western" style="margin-bottom: 0.5cm;">
<i>Yes, we are planning
to shoot a lot more work on Super 8 or 16mm. We love it. We want to
try out more S8 colour processing using C41 chemicals. Super 8
definitely has a strong future for artists and filmmakers, even in
the 21st century. It can be used in many ways. If you want to, you
can be an analogue puritan: never using any digital equipment or
processes at all. Or you can create new, experimental artworks or
film using a hybrid of analogue and digital. That's more interesting
to us: using both the old and the new.
</i></div>
<br />
<div class="western" style="margin-bottom: 0cm;">
<b>Did your
parents have a Super 8 camera when you were child? What was your
first contact with amateur cinema / Super 8?</b></div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<style type="text/css">P { margin-bottom: 0.21cm; }</style>
</div>
<div class="western" style="margin-bottom: 0.5cm;">
<i>No, our parents did
not have any filmmaking equipment when we were young. There were
relatives with a lot of photographic equipment, but they shot stills,
not movies. Our first contact with amateur cinema was when, as
teenagers, we managed to get hold of camcorders. This was the
analogue era, so editing involved bouncing footage from the camcorder
into a VCR and using the pause button at the edit points. It was very
shambolic and there were always a lot of flaws and fuzziness, but we
learned a lot. Later the arrival of digital made filming and editing
easier to do and the results were better quality. Sarahjane did get
to try out a Super 8 camera as an art student, shooting footage of
birds on a field-trip in Amsterdam but, apart from that, our first
experience of Super 8 filmmaking was really when we bought the
equipment and stock and tried it out for ourselves.</i></div>
<i>
</i>
<br />
<div class="western" style="margin-bottom: 0.5cm;">
<i>Thank you for the
interview, Xavier, and thanks also for playing our films at the
festival. </i></div>
<div class="western" style="margin-bottom: 0.5cm; text-align: center;">
<center>
<iframe allowfullscreen="" frameborder="0" height="180" mozallowfullscreen="" src="https://player.vimeo.com/video/172001308" webkitallowfullscreen="" width="320"></iframe>
<br />
<br />
<iframe allowfullscreen="" frameborder="0" height="180" mozallowfullscreen="" src="https://player.vimeo.com/video/202346982" webkitallowfullscreen="" width="320"></iframe>
<br />
</center>
</div>
<div style="text-align: justify;">
<b><i><span class="gD" data-hovercard-id="minibarcelona@gmail.com" name="Minifestival de Música Independent de Barcelona"></span></i></b></div>
<h4 style="text-align: center;">
<span style="font-size: x-small;"><span style="color: black;">MOSTRA INTERNACIONAL DE CLIPS MUSICALS RODATS EN SUPER 8</span><span style="color: black;"><br />MUESTRA INTERNACIONAL DE CLIPS MUSICALES </span><span style="color: black;">RODADOS EN SUPER 8</span></span><b><span style="color: #993300;"><br /><span style="color: #990000;"><span style="font-size: small;">Dissabte 17 de Febrer de 2018 / Sábado 17 de Febrero 2018 </span></span></span></b><span style="font-size: small;"><span style="color: #990000;"><br />
<span style="font-style: inherit;"><b>Espai Jove Les Basses / Carrer de Teide 20 · Barcelona / de 18:00 a 19:00 H</b></span></span><br /><span style="font-size: x-small;">Les projeccions es faran abans del concerts del Minifestival a l´Audirori Les Basses.<br />Las proyecciones se harán antes de empezar los conciertos en el Auditori Les Basses.</span></span></h4>
<h6 style="text-align: center;">
<span style="font-size: small;">La Mostra de Clips Musicals en Super 8 forma part de la programació del <a href="http://www.minifestival.cat/" rel="noopener" target="_blank"><br />XXIII MINIFESTIVAL DE MÚSICA INDEPENDENT DE BARCELONA <br /><span style="font-size: large;">WWW.MINIFESTIVAL.CAT</span></a></span></h6>
<h4 style="text-align: center;">
<span style="font-size: small;"><span style="font-size: x-small;"> </span></span></h4>
<div class="iw">
<b><i><span class="gD" data-hovercard-id="minibarcelona@gmail.com" name="Minifestival de Música Independent de Barcelona"> </span></i><span class="gD" data-hovercard-id="minibarcelona@gmail.com" name="Minifestival de Música Independent de Barcelona"><br /></span></b></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<br /></div>
<br />Athene Noctuahttp://www.blogger.com/profile/15138777467179453959noreply@blogger.com0tag:blogger.com,1999:blog-2808512155163057333.post-77034356642897111822018-01-10T03:07:00.000-08:002018-01-12T11:24:04.680-08:00Experimental Science Fiction Writer interview: Graeme K Talboys<style type="text/css">P { margin-bottom: 0.21cm; }</style>
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<div class="western" style="font-style: normal; margin-bottom: 0cm;">
<br /></div>
<div class="western" style="font-style: normal; margin-bottom: 0cm; text-align: center;">
<span style="font-size: large;"><b> SF
/Fantasy writer, Graeme K Talboys</b></span></div>
<span style="font-size: large;">
</span>
<br />
<div class="western" style="font-style: normal; margin-bottom: 0cm; text-align: center;">
<b><span style="font-size: large;">interviewed
by Roger Simian & Sarahjane Swan</span></b></div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<i><b>Graeme Talboys
and I first began discussing science fiction, experimental literature
and the possibilities of self publishing 10 years ago when we were
both studying creative writing through the Open University. As long
as I've known him, he's been penning wonderful left-field
science-fiction, deeply inspired by the New Worlds authors of the
1960s: Michael Moorcock, JG Ballard, Brian Aldiss etc. Moorcock is a
fan and Talboys has even added a new heroine, Charlie Cornelius, to
English Assassin Jerry Cornelius's Multiverse. Talboys juggles
composing his Charlie Chronicles with penning the ongoing fantasy
series, Shadow in the Storm, starring the thief and heroine, Jeniche,
which is published by HarperVoyager (an imprint of HarperCollins).
Outside of fiction, Graeme Talboys has numerous published works on
subjects as diverse as Druidry, Museums, and Drama Games. - RS</b></i></div>
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<div class="western" style="margin-bottom: 0cm; text-align: center;">
<i><b> </b></i>
</div>
<div class="western" style="margin-bottom: 0cm;">
<b>Would you mind
briefly talking us through your fictional books: the characters,
genres, influences and any links you see between each of them? Who
are Charlie Cornelius and Jeniche Lusor Remai, Thief of Jhilnagar? Do
their worlds intersect in any ways? </b>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
All my fantasy books
inhabit the same universe, although given that they also range across
the multiverse that is a little ambiguous. It would be safer to say
that the lives of the characters intersect. My first fantasy was
<i>Wealden Hill</i>, set in Sussex in the 1880s, about the
experiences of Roland Henty. The Henty family turn up in the
Cornelius books. Charlie Cornelius makes an appearance in the Jeniche
novels. Charlie and Jeniche will play a part in a future series I am
planning. I have a feeling that Jeniche may drop back in time and
turn up in Charlie’s world.</div>
<div class="western" style="margin-bottom: 0cm;">
</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
So who are all these
people? Roland Henty was a soldier returned from The Afghan Wars
seeking peace in a teaching post in a Sussex village. Peace is the
last thing he finds as he discovers his unusual ancestry.</div>
<div class="western" style="margin-bottom: 0cm;">
</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
Charlie Cornelius is
the child of… well, we know her mother is Catherine Cornelius and
that is all I will say on the matter. If you know the history of the
Cornelius family you will be aware of how exceedingly complex it is.
Born in Kashmir on 6 March 1968, at the age of 7 she is taken back to
London in 1931 (told you it was complicated). There, she is taken in
by her Nan, Gertrude Cornell. Not long after the start of the Blitz,
she loses what family she had and begins to live alone in the ruins.</div>
<div class="western" style="margin-bottom: 0cm;">
</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
Given Charlie’s
background, it is no wonder that her relationship with time and the
many worlds of the multiverse is relaxed and one she does not at
first understand. Despite the ability to move into alternative
Londons, many of them with nightmare qualities, she is rooted in the
here and now and must face the hardships of life alone. She must also
face the predator that stalks the blacked out streets, especially
when he threatens a new found friend.</div>
<div class="western" style="margin-bottom: 0cm;">
</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
Charlie is eventually
adopted by the Simmons family who run a travelling funfair and more
episodes of her life will be revealed. The Simmons family (related to
the Hentys) have an adventurer of their own in their ancestry as
anyone who has read H G Wells will know.</div>
<div class="western" style="margin-bottom: 0cm;">
</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
And Jeniche Lusor Remai
will be born a thousand years from now in a country called Antar
where she will be raised on her own by an old woman in a strange
building. Unhappy, she eventually runs away and ends up in the
neighbouring country of Makamba, settling in the city of the same
name and living a precarious life as a thief.</div>
<div class="western" style="margin-bottom: 0cm;">
</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
Her world has grown in
the ruins of a cataclysm so all-encompassing, little record remains
of the civilizations that existed before the event they call the
Evanescence. Life is fairly comfortable for her until the day she
enters a house to steal jewellery. There she encounters not the
riches she expected but empty rooms and a tall woman who hands her an
amulet.</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
Not long afterwards she
is arrested and whilst languishing in prison the city is invaded by
Occassan troops. She escapes jail, retrieves her stash (including the
amulet), and makes plans to escape to somewhere quieter. In the
process she finds herself acting as guide to a group of monks and
nuns from the distant land of Tundur, helping them find a way home.
Also in their group is a stranger called Alltud.</div>
<div class="western" style="margin-bottom: 0cm;">
</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
Nothing goes as she
plans, not least because the Occassans seem to be interested in the
small group, hunting them as they make their way into the mountains.
And so begins the adventures of Jeniche, the places she visits, the
people she meets, the long battle with the Occassans, who are
obsessed with her and the amulet.</div>
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<div class="western" style="margin-bottom: 0cm; text-align: center;">
<br /></div>
<div class="western" style="margin-bottom: 0cm; text-align: left;">
<b>So, with Michael
Moorcock’s blessing you have added Charlie Cornelius to the
pantheon of Jerry Cornelius, the English Assassin, and his clan. How
did you find your way to Charlie as a character? Did she arrive fully
formed from your imagination or did you have to construct her, like a
Frankenstein’s Monster, pieced together from elements of
individuals you’ve known in real life or from previous fictions?</b>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
Charlotte Jennifer
Grace Cornelius first appeared in a short story titled <i>“…the
price is worth it.”</i>, a meditation on the impact of conflict and
disaster on children. I had long wanted to write a Jerry Cornelius
short story in the style of the originals and the opportunity
presented itself in 2006 when I took the Open University’s first
Creative Writing course. One of the assignments was for a short story
of 2,000 words. It seemed a perfect match, not least because I had
been re-reading the Cornelius stories and novels at the time.</div>
<div class="western" style="margin-bottom: 0cm;">
</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
Within Moorcock’s
work there are several hints that a child of Jerry or his sister
Catherine exists. I ran with that idea and how Jerry might react. For
all the complexities and nihilism of his character, I believe that he
would have done exactly as I wrote – search the time streams for a
safe passage through the years for the child and encode this in a way
the mother could use. Of course, where Jerry is concerned, plans
rarely run smoothly.</div>
<div class="western" style="margin-bottom: 0cm;">
</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
That was the extent of
Charlie’s existence. A bump. But another short story was called for
during the course and I wrote, originally, about a single mother
living in London at the beginning of the Second World War deciding
not to let her child be evacuated. Part of the story grew out of
conversations with my mother who lived in London throughout most of
the war (her father was a fireman).</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
As it stood, the story
was complete, but to me it had no depth. In searching for that extra
layer, it occurred to me that perhaps this child of eight years of
age could well be the same as yet to be born child in <i>“…the
price is worth it.”</i>. After a quick rewrite, I had the depth I
was looking for. As a short story, that depth may not be obvious to a
reader, but I am certain that when an author taps into such deep
wells, it resonates in their work.</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
And once the child was
born, I couldn’t leave it there. Even if no one else cared, I
wanted to know how Charlie got to London in 1939 as an eight year old
when she was born in Jhilnagar in 1968. That, I knew was going to be
a long and complicated journey and that I intended to have fun
retracing it.</div>
<div class="western" style="margin-bottom: 0cm;">
</div>
<div class="western" style="margin-bottom: 0cm;">
Indeed, once she
existed, Charlie insisted that her story was written. At first it was
going to be a single novel. That soon went by the board. So much
happened to her between 1939 and 1944, that it needed a book of its
own.</div>
<div class="western" style="margin-bottom: 0cm;">
</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
To begin with I had no
overall plan. Having created a character (I can feel her glaring at
me as I write that) so let me rephrase. Having made Charlie’s
acquaintance, the circumstances of her life were enough to dictate
what happened. She was the child of time-travelling adventurers
living in a war-torn city. Whilst people have stories to tell, their
lives aren’t planned. Things happen. They cope as best they can in
their own way. Which is exactly what Charlie did as a child. Whether
she tries to steer events as she gets older remains to be seen.</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<b>As Moorcock had
bequeathed Cornelius and Co to the science fictional world as public
domain archetypes, up-for-grabs modern day myths that writers were
encouraged to adopt, did you feel you had free reign to do whatever
you wanted with your creation? Or were you beholden to run your work
past Michael Moorcock first, before releasing those stories into the
world? What has his reaction been to your works based in the
Multiverse?</b></div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
Yes and no. This was my
story (and that will be true in more ways than one). At the same time
I was conscious of a responsibility toward the original. I had loved
the stories from the very beginning and felt always that I should try
to be true to their spirit. Happily, the very structure of the
originals left me free to explore and use my own voice. In addition,
as they deal with archetypes (often typified by Commedia dell’Arte),
they offer a ready-made framework on which to weave a tale.</div>
<div class="western" style="margin-bottom: 0cm;">
</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
Once I had completed my
first forays into the Cornelius universe, I did not feel obliged to
run them by Mike, but I have known him for a long time and felt it
would be polite. Of course, it was an enormous boost to my ego when
he told me how much he enjoyed the first story, how I had really
captured the method and understood the point. He has also said he’s
happy with the novels, which is not only personally gratifying, but
makes the actual writing a lot easier as I feel trusted to explore
that corner of the multiverse.</div>
<div class="western" style="margin-bottom: 0cm;">
</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
Not only that, he has
endorsed my other fantasy writing, which means a great deal to me.
This is one of the greatest fantasy writers ever and he likes my
work. What’s not to smile about.</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<b>Do you feel you are
writing the Charlie stories and the Jeniche stories for two distinct
audiences or for one group with broader tastes?</b></div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
I hope that, like me,
my readers would be comfortable with both writings. The characters
interact and storylines intertwine. It is true that the Jeniche books
are straightforward epic fantasies, whilst the Charlie books are much
more experimental and exploratory in their approach, but I suspect
readers will be able to delve into both worlds happily, realising
that the form of story telling is important to the story being told.
Charlie’s life is horribly fragmented by events and she lives in a
world of great complexity and the way her life is related to the
reader reflects this. Jeniche, although she lives in complicated
times, is firmly rooted in one place and time (at least in the first
seven books). The story telling is, therefore, a much more
straightforward narrative.</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
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<div class="western" style="margin-bottom: 0cm; text-align: center;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<b>You were obviously a
huge fan of <i>New Worlds</i> magazine and the more experimental SF
work of Moorcock, JG Ballard and others. Do you have any direct links
with New Worlds or the authors associated with it? Did you submit any
work to them or to any of the other countercultural publications of
the time?</b>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
I submitted a number of
stories to <i>New Worlds</i> back in the late ‘60s and early ‘70s.
They didn’t get published as I wasn’t a good enough writer in
those days. <i>New Worlds</i> had really high standards, but Mike
always passed my work to other editors to see if they were
interested, and it seemed a lot easier in those days to open a
dialogue with editors and writers that you didn’t know. That led to
introductions and sometimes friendships. I also submitted work
(fiction and non-fiction) to other magazines. I didn’t get much
published but I was learning all the time (not least how to cope with
rejection).</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<b>You’ve hinted that
the culture you encountered at that time, the late ‘60s, made you
who you are today, as an individual in general, and more specifically
as a writer. Is this fair to say? What drew you to the
counterculture? What did it tell you about yourself and about the
world around you? What made it so special and life-altering?</b>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
It is a very fair thing
to say. Basically, I’m just an old hippie. I went to festivals, met
some very interesting people, turned on, tuned in, although never
quite dropped out. I thought I could make a difference from the
inside through teaching. But trying to teach and write eventually
burned me out.</div>
<div class="western" style="margin-bottom: 0cm;">
</div>
<div class="western" style="margin-bottom: 0cm;">
<br />
It’s difficult to
know what attracted me to that world at the time. Looking back you
can always find connections, but at the time that’s what all my
friends were in to and my earlier life had no doubt set up the right
conditions. As a young child I was a bit of a loner. My siblings were
seven years older than me and although it was natural that we moved
in different circles, I had the advantage of being introduced to
things ahead of time – music, books, magazines, and ideas. Even as
I was reading <i>The Beano</i>, <i>The Eagle</i>, and <i>Look and
Learn</i> I was reading more adult fare. My mother subscribed to the
Companion Book Club and there was always a Simenon or a Greene to dip
into. I didn’t always understand these things, but by the time I
was eleven I had an adult library card (non-fiction only, presumably
to protect me from what I was already reading at home).</div>
<div class="western" style="margin-bottom: 0cm;">
</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
From an early age I
loved science fiction and fantasy, was fascinated by tales of unusual
happenings and mysteries, ghosts, lost cities, UFOs, British myth and
legend. It was all grist to the mill of my imagination. Exposure to
more adult reading grounded this in the real world that not many
children experience.</div>
<div class="western" style="margin-bottom: 0cm;">
</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
Perhaps that is why
when I stepped into the counter cultural stream, I was happy to be
swept away. It was such a heady mix of real world concerns and the
fantastical that it seemed quite natural to me. Contemporary
depictions of that period can be distorting. A comparatively small
number of people grew their hair and adorned themselves with flowers
(although when you went to festivals like Phun City or the Isle of
Wight you could be forgiven for thinking the whole world had done
so). But those were intensely political times, a time when any- and
everything seemed possible.</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
Equally there was an
enormous explosion of creativity. You could try anything and there
was a community that encouraged that, helped that, nurtured that, and
which allowed you to fail. Failure was part of the process. It was
accepted. The important thing was you had tried and no-one made you
feel bad if it didn’t work. More often than not, they asked you
what you were going to do next.</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
I was lucky in that my
home life allowed me to flourish, my schooling was under the tutelage
(for the most part) of teachers who engaged with and encouraged me.
My school had arts festivals, and I became involved with those, with
drama, with the local folk scene. And I was doubly lucky in that I
lived close to Brighton. That meant I could get up to London easily
and partake of the vibe in and around Ladbroke Grove, witness the
early performances of Hawkwind, get to the theatre for things like
Peter Brooks’ <i>Midsummer Night’s Dream</i>, and still have a
town on my doorstep that was as vibrant as London, yet more intimate.</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
Hanging out in Bill
Butler’s Unicorn Bookshop, going to concerts at the Dome and the
Uni, mixing with all sorts of people just kept expanding my mind. And
Brighton had a whole previous generation of bohemian folk who shared
their wisdom.</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
It wasn’t all good.
Anyone’s teenage years have their downs as well as their ups. And
the counter culture itself was riddled with inequalities, especially
when it came to women’s rights. But on the whole it was a formative
period I am ever thankful to have experienced.</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
It didn’t last, of
course. Just when we thought we could change the world, the world
decided it wasn’t time and the establishment fought back. That is a
long and painful history that has been chronicled elsewhere. Yet it
left a legacy that is still at work. Groups like Friends of the Earth
and Greenpeace had their genesis at this time. Many of the young
hippies are now old hippies and still working for a better world.</div>
<div class="western" style="margin-bottom: 0cm;">
</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
From a personal point
of view, it was the opening of the mind and learning to look at the
world with different eyes, learning to be critical in a positive way,
not being afraid to experiment, the music, the camaraderie, the
feeling of belonging to an anarchic movement in which being a bit odd
was a redeeming feature.</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<b>Do you miss that
era? The Charlie Cornelius stories seem haunted by a kind of
dislocated melancholy and nostalgia for a freer, more open time. </b>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
I do. I realise that
that’s as much a nostalgia for the carefree time of childhood. I
grew up in a loving family. That too wasn’t without its ups and
downs, but I felt secure, loved, and trusted. In turn I did little to
abuse that. There wasn’t much in the way of drugs (mostly because I
didn’t see the point – the mind has plenty of wonderful things to
explore without messing with it). I did nip off to festivals a bit
further afield that my parents would not have been happy about, but
that was the extent of my rebelliousness at home.</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
That aside, I miss the
flowering of creativity, the anarchic vibrancy of the time. I know a
lot goes on now in ways we couldn’t have imagined back then, but it
seems far more disjointed, individuals and small groups rather than a
whole, loose-knit culture.</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
Students don’t
protest any more because the old centres of political ferment were
closed down and these days students are loaded with debt. Back then,
you could scrape by on the dole, find a cheap hovel to share with
others, do casual work to put more than beans on toast on the table
and not worry about being harassed by Social Security. You had the
chance to write your novel, rehearse your band, make your art. Even
if you later put on a suit and got a job, you had the opportunity to
get that out of your system. You could say you’d tried.</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
Now everything seems to
be driven by committees and money, where those who decide on who gets
a grant or a spot at the festival belong to a very small coterie of
folk who are rarely practising artists. Or it is all about instant
fame from the TV. Or it is a professional career via a BA and MA in
some creative subject that squeezes you into an academic box in order
that you can be assessed to an arbitrary standard and strips away any
truly innovative approach. I won’t condemn such courses outright as
they are better than nothing. But only just.</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
Or maybe I’m just an
old fogey shaking one fist at the modern world whilst clutching a
copy of Kropotkin in the other.</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<b>Can you still see
any whispers or traces of the philosophies and creativity of the 60s
and 70s here in the 21st century?</b></div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
Everywhere. Like the
Big Bang can be heard if you know where to look, the echoes of that
explosion still resound. I mentioned Friends of the Earth and
Greenpeace before. They and many other green organisations were born
back then. I went drinking with Robert Hunter when he was in the UK,
and we talked about this, about whether counter cultural movements
inevitably disappear under the weight of both reactionary forces and
their own move from anarchic structure to more corporate
organisation. We never did decide. But that initial blossoming still
provides inspiration. There are still people travelling and living
off grid, building little houses in obscure places and living quietly
without leaving a footprint in the sands of time. And ideas are also
still alive. Modern technology has allowed music, film making, art,
animation, and writing and publishing to take place in a way not seen
before. And as I also said before, it is only that they do not take
place within an overarching counter-cultural atmosphere that we don’t
hear more about them. Even with the internet it is much more
difficult to find these endeavours than it was in the ‘60s, much
more difficult to connect them. </div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
The current zeitgeist is a much more
tenuous spirit, perhaps because it is so much more widely spread and
because there is now so much background noise. That migration of folk
to centres, and in those centres to rooms where people would sit,
talk, listen to music together, come up with ideas, and put those
ideas into action no longer takes place in ‘western’ culture.</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZFPP1w4c4dlwXlZaEb71fbMHufcxsiL8WO4-B6mCrT4QgNmj3ce-tvaM5SPXyeCp0-Lm6cBuuJf3dZq-uALUFEU8YJ3BZrhTDt3cXK-TYkxVaJrHOx2I65TZxiZ4HjqyNuQ2f-Nu-mgXu/s1600/Talboys-thinreflections.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="400" data-original-width="259" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZFPP1w4c4dlwXlZaEb71fbMHufcxsiL8WO4-B6mCrT4QgNmj3ce-tvaM5SPXyeCp0-Lm6cBuuJf3dZq-uALUFEU8YJ3BZrhTDt3cXK-TYkxVaJrHOx2I65TZxiZ4HjqyNuQ2f-Nu-mgXu/s400/Talboys-thinreflections.jpg" width="258" /></a></b></div>
<br />
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<b>In your novel, <i>Thin
Reflections</i>, we are introduced to Charlie’s childhood in the
war-torn London of WWII. Much as JG Ballard’s earliest experiences
in the chaos of Japanese occupied Shanghai directly influenced his
fictional disasters and dystopias, Charlie’s childhood in a
Blitz-ravaged London seem to echo in her unsettled, adulthood as a
rootless Temporal Adventurer. In what ways have the landscapes of
your earliest memories resonated through your life and fiction? I
gather that your early childhood was urban but that you were at some
point introduced to a more rural existence in East Sussex?</b></div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
That’s a really
interesting question – the dichotomy of urban and rural. I was born
in London and lived there for the first five years of my life. We
then lived in Norwich before moving to Sussex. That was a gradual
drift from urban to rural (and I now live in a small Scottish
village, so the journey is almost complete). Despite leaving London
at an early age I still have very distinct memories and, having
family there, we always went back. And that side of the family were
deeply rooted in London and were, of course, living there through
WWII. My maternal grandfather was a fireman who experienced the Blitz
at its sharpest end.</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
As a small child, my
mother would take me all over the place, going to parks and museums,
visiting aunts and cousins – almost as if she wanted to imbue me
with as much experience of that world as possible. It is these
memories, fragmented as they are, that are a foundation to my visions
of the world – parks and old buildings, railway bridges, tube
trains and buses, the roof garden of Derry and Toms – plus that
feeling that a city must be walked and explored. That was clearly
embedded in me when we moved to Norwich. As a child in the late 50s
and early 60s, I had a huge amount of freedom. I would walk the city
streets, visit the museums and libraries, play in the still existing
bomb sites, ride the bike my brother had made for me out of bits of
other bikes. Freewheeling and anarchic, and still finding plenty of
time to read comics and books, scribble my own stories.</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
This carried on into
life in Sussex where rural scenery was thrown into the mix. I found
walking the countryside (or riding my bike) just as absorbing as
wandering about in Brighton. In some senses you had to. About half my
friends lived in relatively remote villages, the rest being spread
out in the same coastal sprawl where I lived. It was nothing to get
on my bike and cycle thirty miles to get to a party, crash for the
weekend and cycle home. But my restlessness was just as likely to be
solitary, exploring on the beach or walking on the downs.</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
You cannot be that
immersed in your environment without it shaping who you are. My
writing draws heavily on these landscapes. And it doesn’t really
stop with childhood. I went to college in Birmingham, so there is
another urban landscape, one that is coloured by my emerging adult
awareness. The college buildings are also deeply embedded in my
psyche. They often turn up in Charlie’s world (and play a role in
other story ideas I hope to develop). They represent a growing
awareness of the world as well as being a place that sits, like so
much of what I write about, in liminal space.</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
The same happened when
I started teaching. I lived in a flat in a long modern, complex that
was a retreat from the stresses of teaching and has also become
embedded in my psyche. More so as the whole complex has since been
demolished, existing now only in memory and a few photographs. And,
of course, in my writings.</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
Like any artist, I
represent and interpret at the same time. My visions of the world are
fed in part by memories seen through a kaleidoscopic distorting
glass. I sometimes wonder how disturbed I might be or, more
frightening, just how straight I see the world. In the end, though,
whilst I remain aware of the sources of my imagination, I try not to
analyse it too much. It is a superstitious fear that if I pick it
apart, I won’t be able to put it back together again.</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgP7B6cnPi56C3gx4qyGP0TvCx7KnUH31uk8fO-ywvPmLRwMAZ7yzg9MarlL1J7kWPOnLqZh1pnThQRHon-CmFTE_2l-mpDOv-DoLkV6uxJLgqQDo3ipEHCDkohQ0X_Or63v6syzzPfPwaW/s1600/talboys-futureking.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="499" data-original-width="326" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgP7B6cnPi56C3gx4qyGP0TvCx7KnUH31uk8fO-ywvPmLRwMAZ7yzg9MarlL1J7kWPOnLqZh1pnThQRHon-CmFTE_2l-mpDOv-DoLkV6uxJLgqQDo3ipEHCDkohQ0X_Or63v6syzzPfPwaW/s400/talboys-futureking.jpg" width="261" /></a> </div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<b>What were the first
books that really grabbed hold of you and shook up your world? How
did they attract your attention and in what ways did they change who
you were?</b></div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
Oh. First loves. And a
bit of cheating because the first reading that was compulsive were
the comics I took each week. My brother’s Eagle (Dan Dare), my own
Beano and a bit later TV21 (Gerry Anderson) and Look and Learn (for
which, I later learned, Mike Moorcock wrote). Much of my juvenile
reading was non-fiction (I had a thing about castles for years) and
of the children’s fiction I read I cannot remember a single book.
In fact, I didn’t get into children’s fiction until I started
teaching. There were always plenty of adult books in the house; a lot
of my reading choices were a gift from my mother – Georges Simenon,
Graham Greene, and Margery Allingham, for example. I read a lot of
those as a youngster but didn’t fully appreciate them until I was
older. Oddly enough, the one adult book from that early period I
remember clearly was Flying Saucers Have Landed by George Adamski and
Desmond Leslie. It introduced me at an early age to alternative
realities and to people who see the world differently.</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
The earliest novel I
recall that grabbed my attention forcefully and has never since let
go is T H White’s <i>The Once and Future King</i>. I was twelve. A
teacher at my school, Bill Euston, read us <i>The Sword in the Stone</i>
in the weeks before he retired and advised us to seek out the other
parts. I knew the Arthurian tales well, by that time, but was
completely entranced by this madcap version. It still astonishes me
(I reread it on a fairly regular basis) what White managed – not
just in terms of storytelling (it is Bardic magic), but in the way he
subverts everything without once losing his respect for the source
material. As a piece of literature, its importance to me is matched
only by its spiritual importance. As a child I had experienced things
which, once I read White’s book, began to make sense and set me on
a path I’ll write about below.</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
It was also, perhaps a
gateway book. Once I’d read that I wanted more like that. And
around this time I started looking at SF&F, partly through the
pages of <i>New Worlds</i> magazine. When Mike Moorcock took over
editorship, it was like the doors of a whole new library being opened
– not just in the writing in the magazine, but in the discussions
had within the pages about other authors and the things you could
possibly do with words.</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
Then (as now) I was a
voracious and indiscriminate reader. William Burroughs or Edgar Rice
Burroughs, I didn’t care. I was fully aware of differing styles and
‘merit’, but it doesn’t matter if you are travelling first
class or in a broken down third-hand bus held together by string and
chewing gum, it’s the journey you take and the things you
experience along the way – although the best experiences are often
to be had on that broken down bus as it negotiates the back roads of
a foreign country. There are, of course, other books that not only
stand out in my own mind as important but which have, I am sure,
influenced me as a person and a writer. The brightest of these are:
Brian Aldiss’s <i>Barefoot in the Head</i> and <i>Report on
Probability A</i>; J G Ballard’s <i>The Atrocity Exhibition</i>;
Barrington J Bayley’s <i>Soul of a Robot</i>; Samuel Beckett’s
<i>How It Is</i>; John Berger’s <i>Ways of Seeing</i>; Jorge Luis
Borges’s <i>Labyrinths</i>; Albert Camus’s <i>The Outsider</i>;
Angela Carter’s <i>Shadow Dance</i>; Philip K Dick’s <i>The Man
in the High Castle</i>; M John Harrison’s <i>The Pastel City</i>;
Anna Kavan’s <i>Ice</i>; Mike Moorcock’s <i>Behold The Man</i>;
Mervyn Peake’s <i>Gormenghast</i> books; Arthur Ransome’s
<i>Swallows and Amazons</i>; Dorothy Richardson’s <i>Pilgrimage</i>
sequence; Alain Robbe-Grillet’s <i>The Erasers</i>; Joanna Russ’s
<i>Picnic on Paradise</i>; Jack Trevor Story’s <i>The Trouble With
Harry</i>; Boris and Arkady Strugatsky’s <i>Roadside Picnic</i>; P
L Travers’ <i>Mary Poppins</i>; H G Wells’ <i>The Time Machine</i>;
Monique Wittig’s <i>The Guerillas</i>; Virginia Woolf’s <i>Orlando</i>.</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
And most of that is by
the time I’m 16. Add to that, as you have to, the music, the
movies, the artwork, theatre, parties, and festivals. As that would
take another ten thousand words, I’d better stop now.</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<b>When did you begin
to write yourself? Were you encouraged in this in any way: by
parents, peers, school, the culture at large? How did you learn the
skills required to be a writer?</b></div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
I don’t know where it
came from but I have always loved everything about writing and books.
Pens, paper, learning cursive (which we did at school in handwriting
lessons – we weren’t allowed to use pens until we had completed
that), and just generally drawing and scribbling. It has always
seemed to me to be an act of magic. My first conscious memory of
creating my own stories is when I was seven. My parents had groceries
delivered once a week from a nearby store. Each week, my mother would
write a list in a red, Silvine cash book the grocer supplied, hand it
in to the store and on Friday evening, cardboard boxes would be
delivered in a van.</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
There were always spare
red books which somehow ended up in my clutches. And I would write
stories in them, illustrated every few pages. They’ve all
disappeared now, sadly as I would love to be able to see those first
steps. And it wasn’t just stories written in books. There was a lot
of world building going on in my head all the time, vignettes to
explain things I didn’t understand or which appealed to me. Every
journey back and forth from school was an adventure. Every playtime
game was an adventure. Exploring the city was both nerdy (I was
curious about everything) and an adventure.</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
All those stories,
along with the ones I was taking in via comics, books, cinema, and a
television with two channels – well, they had to come back out or I
think my head would have exploded. And they did. When I wasn’t out
there being a spy, landing on other planets, hunting ghosts, or
looking for treasure, I was writing. And drawing. The little red cash
books grew to exercise books and larger ledgers that turned up from
somewhere (along with pens, pencils and crayons). That, I guess, was
the only positive encouragement my parents gave. They saw what I
enjoyed and gave me the materials and the space to get on with it.
But looking back, that really was the very best encouragement of all.
No one in my family at that time was what you’d call a book worm
(and I’m not sure I ever saw my father read anything other than a
newspaper or technical journal). No one was inclined to the literary
life. On the other hand, no one ever looked down on it or discouraged
it.</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
School didn’t mind. I
handed in work. One Junior school teacher did place me next to the
classroom library and never once complained if I’d slipped a book
off the shelf and was reading. So, once again, it was a recognition
that what I was up to was at worst harmless and would improve my
vocabulary so I was allowed to get on with it.</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
It wasn’t until my
third year in Secondary school, not long after we’d moved to
Sussex, that I began to think about the actual craft of writing. My
first two years were at a school in Norwich which I loathed. As a
result of doing well in the Eleven Plus, I ended up in one school and
all my friends in another. The school I went to had pretensions,
thought it was Eton or something (despite being a state grammar
school). Bullying was rife. My mother later told me that she and dad
were happy when he got made redundant and had to find work elsewhere
as it got me away from that place.</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
In Sussex I flowered. I
was still in a boys only state grammar school (which became a mixed
comprehensive at the beginning of my fifth year), but the atmosphere
was totally different. I began to enjoy school again, especially
English classes. That’s where T H White comes in. That’s where
teachers began to get me to think about how written work is
structured, how the choice of words can alter a piece. It’s also
where I made new friends my own age and was exposed to their tastes.</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
As I hurtled into
adolescence, the writing of stories became the writing of poetry.
Every day I would free write. Huge amounts of garbage. But it was
ingraining a habit. Write every day. And it was ingraining the notion
that your first draft, your free write, doesn’t have to be good.
It’s manure that makes the roses grow.</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
In that sense, I was
self-taught. I began to take bits of what I had written and I began
to work on them, find ways to improve their meaning, their flow,
their resonance. I can’t say I was that good at it, but these
things take time. And if nothing else, I was prolific. Thousands of
poems and bits of prose by the time I was eighteen.</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
In another sense, I was
learning from the very best teachers possible – books. Novels
poems, plays. Words. Because they were still magical and I was
beginning at that stage to get the hang of it.</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
Perhaps the only
drawback in later school life is that none of my contemporaries was a
writer. They were virtually all musicians. I’ll touch on this a bit
later, but it still astonishes me how much musical talent there was
around me.</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
It wasn’t until I got
to college I began to discuss writing with other writers. By that
stage my focus was on theatre and drama, but I was still writing
prose. In fact I’d already written a couple of novels by then (one
of which I lost on a train).</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
Formal training in
writing came late in the day with the Open University’s Creative
Writing courses. By that stage I was already published, but it was
non-fiction and I felt in a bit of a non-fiction groove. Working
through well designed courses and being able to bounce ideas and
general chatter around with other writers was extremely liberating,
not just in terms of writing, but in the opening up of a network of
people who have become good friends and whose support and advice over
the years has been of inestimable value.</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-KTC5jmMxFWH8WQ_xvg67UR1H9bUvkDNdx7HpU3mfz3CzrDBV3AqDJMzvgY4HbVUV9xA0RotTrYaWzg8gwdp3qOwOC3vj5IgafIKlXQ-4HGTJwyesVCU0iu-kdjiqDyrENngSKlytupyJ/s1600/Talboys-Druids.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1515" data-original-width="1000" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-KTC5jmMxFWH8WQ_xvg67UR1H9bUvkDNdx7HpU3mfz3CzrDBV3AqDJMzvgY4HbVUV9xA0RotTrYaWzg8gwdp3qOwOC3vj5IgafIKlXQ-4HGTJwyesVCU0iu-kdjiqDyrENngSKlytupyJ/s400/Talboys-Druids.jpg" width="263" /></a></b></div>
<br />
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<b>You have a strong
interest in Druidry and the Celtic heritage. What influence, if any,
does this have on the stories you write? Is your particular strain of
science fiction and fantasy writing a continuation, in some way, of
the Celtic storytelling traditions?</b></div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
We are back to T H
White. <i>The Sword in the Stone</i> was not just an epic piece of story
telling, it was a spiritual journey. That’s where my formal
interest in Druids and our Celtic heritage began. And what better
place? Story-telling, teaching, standing witness, keeping alive the
ideas, working for balance... these are all part of what I do. There
are many ways to accomplish these things – some obvious, some more
subtle. In the end it comes down to a view of the world, a
metaphysical stance that governs your actions. The inside of my head
is a strange place although I am extremely comfortable there. Outside
my head is even more remarkable. The world is a constant miracle,
despite the attempts of some to bring it to its knees. My work as a
Druid, my involvement in green politics and environmental causes, my
teaching, and my story-telling are all aimed at a single end. I want
people to appreciate the world in which they are privileged to live,
I want them to care for it, I want them to work in ways that lessen
our impact on and increase our joy in the world.</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
My non-fiction is about
specific ways in which you can better work in the world, be that
through an understanding of what it means to be human and how fragile
that existence is or by taking positive action to examine our
individual contribution. My fiction goes to some dark places to
examine bad things and show how people, be they individuals or
groups, can make a difference.</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
Like the Bards of old I
try to tell an exciting and engrossing story that derives from my
concerns. And I have not the slightest doubt there are elements of my
storytelling that borrow heavily from Celtic sources (like whole
books). </div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5Pv_clyZuQpaxuQ1_ulqxbuecFjtnY4epU3RYE2MISLoFxVUkEdxFG68aAUSTxsSq3DB8IOUFlOOM4vTsiTtPclwPyFw4uSfB_DkLhW_G_Eb8pXjUbEtWCSclN5p7exWJjRGW35ojxF_r/s1600/Talboys-Wealden.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="500" data-original-width="324" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5Pv_clyZuQpaxuQ1_ulqxbuecFjtnY4epU3RYE2MISLoFxVUkEdxFG68aAUSTxsSq3DB8IOUFlOOM4vTsiTtPclwPyFw4uSfB_DkLhW_G_Eb8pXjUbEtWCSclN5p7exWJjRGW35ojxF_r/s400/Talboys-Wealden.jpg" width="258" /></a></div>
<div class="western" style="margin-bottom: 0cm; text-align: center;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<b>I’ve read that
every school day in your early teens, you would pass the Mount in
Lewes, East Sussex: an antiquated, artificially constructed chalk
mound covered in turf. This must have fired up your imagination in a
big way. You’ve also spoken about the inspiration for your first
novel <i>Wealden Hill</i>: an overheard pub conversation between two
wizened Sussex gents discussing a grandfather snatched away for some
time by the “fraeries”. Having grown up in an urban space, your
later encounters with the landscape and lore of East Sussex seem to
have been a rich source of inspiration to you as a writer. </b>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm; text-align: left;">
I also passed the spot
every day where Virginia Woolf committed suicide, went to school and
worked in the town where Thomas Paine was an excise officer for 6
years and which had and still has a very strong tradition of
non-conformism is its widest sense. I spent a lot of time on the
Mount with friends in that eternal summer of my youth. The local folk
and folklore scene was extremely important to me. I think the most
wonderful thing was that I lived within easy reach of town and
country, both of which were steeped in culture ancient and modern.
You could walk on the downs and feel the millennia beneath your feet,
see the burial mounds and other workings of peoples whose most
advanced technology was the flint they pulled out of the chalk. From
up there you could see the setting of Kipling’s <i>Puck of Pook’s
Hill</i>. At the same time you would be walking the paths that Virginia
Woolf followed, seeing scenes so wonderfully captured by artists like
Eric Ravilious. And there were so many in-between places, both in
town and country, and these perhaps are the ones that inform my work
the most. The little deserted rural railway halts along with the
major railway stations late at night. along with the major railway stations late at night. Places on the downs where the modern world could be seen, thickets of thorn in which it was possible
to lose oneself on a hot summer afternoon. The huge figure of the
Wilmington giant who has always been, to me, a female figure holding
wide the gates to another world. The tiny back alleys of the towns
with second-hand bookshops that were clearly connected to L-space.
Everywhere you went, there were stories to be heard and stories to be
told. And perhaps it was that contrast of urban and rural, along with
all those edge spaces, that made it all so vibrant and fed my
imagination with such a rich diet. </div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<b>I had a similarly
enriching duality in my formative years. I grew up in a tough grey
housing scheme on the outskirts of Edinburgh until I was 10 and then
we moved to a village in the Scottish Borders, which had been the
hometown of Thomas the Rhymer, True Thomas of Ercildoune. Both
locations: the urban and the rural have had huge impact on my
imagination and I’ve always found myself drawn to characters like
the Arch Drood and Modern Antiquarian, Julian Cope (of The Teardrop
Explodes), who seems to simultaneously inhabit both the trippy
wilderness of ancient Warwickshire and the edgy metropolis of
Post-Punk Liverpool. Do you think you would still have been a science
fiction / fantasy writer (and, indeed, a lover of the Druid’s Way)
if you had not relocated from the city life to the country?</b></div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm; text-align: center;">
<b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEit5-uR6i6NbsxJImhsPoJIDluBsn1F8ibvqDjx7y53D7e1QALG95_-XXsTePbAJcgAP2dRK4K1kk9nYf_3ihyFyqUBirXNgOvsVYnCYZikwzQ1OQ70q2zYNt0VQrbHyXjnyd9QQmKMU5Ci/s1600/talboys-juliancope.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="953" data-original-width="953" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEit5-uR6i6NbsxJImhsPoJIDluBsn1F8ibvqDjx7y53D7e1QALG95_-XXsTePbAJcgAP2dRK4K1kk9nYf_3ihyFyqUBirXNgOvsVYnCYZikwzQ1OQ70q2zYNt0VQrbHyXjnyd9QQmKMU5Ci/s320/talboys-juliancope.jpg" width="320" /></a> </b></div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
Oh. That’s a big
question. And true to the spirit of speculative fiction it is perhaps
the biggest ‘what-if’ question of all. It is one I have asked
many times, and I suspect that what I have become was set in train
from a very early age. My very earliest memories from when we still
lived in London are a mix of urban and rural. We lived very close to
Richmond Park. The belling of red deer during the rut is one of the
earliest sounds I can recall. Visiting the park for picnics ranks
equally with walking the city streets in my memory – from a time
when smog was a real problem, steam trains roared over bridges, and
there were still bomb sites from the war. The path I followed would
no doubt have been different, but I believe it would have been
roughly parallel to the one I did follow.</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<b>Is it true that you
grew up with Wreckless Eric? What was he like? What did he teach you
about the Rock ‘n’ Roll world? </b>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
I did. When we moved to
Sussex a pupil in my class was allotted to act as my guide for the
first few weeks to make sure I knew where all the classrooms and
toilets were and to make sure I got the right train and bus home.
That was Eric Goulden. He was given the unenviable task of
baby-sitting because he lived a bit further along the same bus route
from me (you did a great job, Eric – I never once got lost). We
ended up in different tutor groups later on, but we are still in
touch. It’s difficult to think of folk you grew up with being
internationally recognised stars – they were just kids you mucked
about with on the train, copied homework from, saw at parties.</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIwg7x3XDJLO9NhU0knJQ9E8JmVQ0s-PWs-39MEmbtaESOcEp_VmD_U1VHLOpeNkNUG01k2I5PrgMkyKWeY_7bbSRUE_tpToO3XRDWw21ZzeT_yHRUxeLv6UzTuS7pOh48ewkBhOvBvtsq/s1600/talboys-wreckless.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="500" data-original-width="500" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIwg7x3XDJLO9NhU0knJQ9E8JmVQ0s-PWs-39MEmbtaESOcEp_VmD_U1VHLOpeNkNUG01k2I5PrgMkyKWeY_7bbSRUE_tpToO3XRDWw21ZzeT_yHRUxeLv6UzTuS7pOh48ewkBhOvBvtsq/s320/talboys-wreckless.jpg" width="320" /></a> </div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
As I mentioned earlier,
there was an astonishing amount of musical talent in the school that
was clearly going to go places. Contemporaries of mine were people
such as Andrew Ranken (Pogues), Pete Thomas (The Attractions), and my
good friend Tom Morley (Scritti Politti). Notice a theme? –
drumming was popular. And even those who did not go on to be
professional musicians still perform regularly (especially in the
folk scene). I made efforts to play bass but I have stubby arthritic
fingers and could never quite get it. Music did not lose out by my
failure. But it has always been important to me.</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
And if there is a
lesson to be carried away from this, it is that no matter what hype
surrounds such people, they are ordinary folk who went to
extraordinary lengths to perfect their art.</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<b>Music seems to have
been hugely important to you. Who are your Rock Gods and Goddesses?
Is there any essence of their work reflected in your books?</b></div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
Oh, I could go off on
another very long list, so I’ll try to be good. As far as bands go,
Hawkwind have always been there (I’m listening to them as I write
this), the Nice, the Deviants (and later incarnations of the band and
its various members – especially Mick Farren, a great writer and a
true rock ‘n’ roller who died on stage). A lot of blues/rock from
Cream, Hendrix, Ten Years After, Groundhogs, Steamhammer, and Chicken
Shack.</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
A more contemplative
side can be found in the work of the incomparable Sandy Denny, with
an echo of that melancholia found also in Nick Drake. Roy Harper was
a particularly strong influence (to the point of Charlie Cornelius
novel titles deriving from his lyrics, with his permission). And to
prove I’m not stuck in the past, the Smoke Fairies are a
contemporary folk/blues outfit I love.</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
For more ‘progressive’
work King Crimson, Soft Machine, Pink Floyd, Peter Hammill, Porcupine
Tree, Van Der Graaf Generator.</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
I like film music as
well (most of it more than the actual films). It is ideal to write to
as it is composed specifically to hit emotional triggers. Jablonsky
and Zimmerman do this well for mainstream films. Sometimes you get a
perfect match of director and composer as with Tarkovsky and
Artemiev.</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
And, of course,
classical. Lush and romantic orchestral music mostly – Sibelius,
Mahler, Rachmaninov… you get the picture.</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
My work is riddled with
references to music and other cultural items, often obscurely, and
simply because it pleases me that something resonates with a memory
of my own. My musical tastes and the things I write are a reflection
of each other.</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<b>I gather, from
reading some of your work, that you spent part of your later
formative years in Brighton. What drew you there? Was there a strong
countercultural presence? In your short story <i>This Side of Winter</i>
from the Charlie Cornelius volume, <i>Stormwrack</i>, you describe an
underground journal, <i>Garden of Albion</i>. Is this inspired by a
real publication and real characters you encountered in Brighton?</b></div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
When the family moved
to Sussex, Brighton became the nearest place with a choice of
bookshops, music venues, and hangouts for a growing lad like myself.
Just out of town was Sussex University, in the town itself was an Art
College of the type that got closed down or subsumed because they
tended to be hotbeds of radical thought. There were blues clubs, folk
clubs, spaces for open air concerts, and the Dome. Bookshops seemed
to line the streets. New and secondhand volumes abounded (as did LPs
– this was the almost prehistoric first vinyl age). There were
quirky shops left over from another era. And I knew them all.</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
One particular haunt
was the Unicorn Bookshop, owned by the poet Bill Butler. It was more
than just a bookshop. He ran a small press, and there were always
interesting people in and out – Moorcock, Ballard, William
Burroughs. It also engaged with its customers. People would talk
about books or what they had read in <i>IT</i> or <i>Oz</i>, about
concerts they’d been to. As a result of all this, the place was
also always the focus of police attention. Put hippies and a small
press together and the establishment would lash out at it on a fairly
regular basis. And just as <i>Nasty Tales</i> and <i>Oz</i> had their
obscenity trials, so too did Bill Butler for publishing Ballard.</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFZgcQ9NCPjezgirkqhrgTZ5vCDbeVQ84VS-h5uLi5sdrLVkKuLXpM7dI5nhGMcGAxMBhZ-MxHgq9Rezh6IZHBa3upuOAWsXQqv01e4zFZuMYsVxffiRD65XbnsqqEfvy3pf78cRmX_3c7/s1600/talboys-oz-01.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="499" data-original-width="350" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFZgcQ9NCPjezgirkqhrgTZ5vCDbeVQ84VS-h5uLi5sdrLVkKuLXpM7dI5nhGMcGAxMBhZ-MxHgq9Rezh6IZHBa3upuOAWsXQqv01e4zFZuMYsVxffiRD65XbnsqqEfvy3pf78cRmX_3c7/s400/talboys-oz-01.jpg" width="280" /></a> </div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
The Unicorn Bookshop
was a fascinating place. It is no surprise it resurfaces in an
alternative form in my Cornelius books as Octopus. It seemed to me to
be the perfect place for Charlie to take refuge during those late
days of the ‘60s whilst exploring something of the social history
of the period – in particular the police/state hypocrisy of
pursuing such places for obscenity when you didn’t have to walk
very far to find photographic and film studios churning out
pornography and appearing to have the protection of the local police.</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<i>The Garden of Albion</i>
has no direct counterpart, but it is a generic product of the
underground press of the period. Long before all the tools made
available by desktop publishing, hundreds, if not thousands, of
magazines and papers were being printed at the time – providing an
outlet for the counter cultural voice. I still have a number of
periodicals from the time, from the professional <i>New Worlds</i>,
and <i>IT</i>, to publications like <i>Nasty Tales</i>. Many of these
are now exceedingly fragile. They weren’t aimed at posterity. The
layouts are wonky. Photographs are often poorly reproduced. Cartoons
hastily drawn. Yet they have a vibrancy that many modern small
publications seem to lack.</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<b>How did you end up
living in Scotland? Has the new landscape and culture you find
yourself existing in had an influence on your work?</b></div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
We moved here when I
took up a post at the museum in Stranraer. Within months, I fell ill
with ME and FM and eventually stepped aside from my post. Ironically,
we came here because of the promise of walking and exploring the
countryside. Prior to moving I had spent a year’s paid leave
(courtesy of a grant) researching a book on museum education and not
long after being diagnosed I was offered a publishing contract.
Writing full time seemed to be a way forward.</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
Despite my problems
with mobility, I have always been conscious of landscape and
fascinated not just by how it forms but also how it acts on those who
live within it – the way the psychologies of those who live in
desert regions, for example, differ from those who live in
well-watered landscapes. Even when the landscape is urban, it affects
those who live there. City dwellers have different outlooks to
village dwellers. Different cities affect people in different ways.</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
I find any written work
that does not understand this and reflect it in the characters and
story to be psychologically two-dimensional. It is fantasy where
environment is most obviously used (although even there, writers
often get it wrong). We are, of course, treading the edges of
pathetic fallacy here in which environment is endowed with human
emotion and conduct. Yet it is impossible not to recognise this as
part of human understanding of the world. We cannot understand it in
any other way because it has shaped us and our thinking; if we tend
to ascribe or project our own emotions and motives, that is how we
function and make sense of things.</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
Certain stories rely
heavily on the landscape in which they are set. Thomas Hardy springs
to mind. And certainly in my more rural fantasies, the landscape is
ever present as an influencing factor. Not just in the sense that a
journey through mountains will be hard, but in the psychological
presence of mountains. Having spent time in the Alps, I know what a
weight they can place on the psyche.</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
The same is true of the
weather. A desert dweller will know the joy of the rainy season, no
matter how short, and be prepared for it. But to move into a region
where it rains 250 days of the year, often non-stop for weeks on end
(I’m looking at you, Scotland), is to introduce an element (excuse
the unavoidable pun) that will undoubtedly affect that character.</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
Of course, as a writer,
I should be able to conjure this no matter where I live, but it is so
much better to have experienced these things for yourself. In my past
I travelled a lot and have lived in both those urban and rural
settings. Even now with limited mobility I try to get out as much as
possible.</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
Contact with the
landscape and the objects you write about brings a veracity to your
work be it fantasy (and having worked in museums I know about armour,
swords, living in roundhouses from first-hand experience) or
contemporary urban literature. </div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirLf_byObd1eZiRKObahTeX9BM83CghMxQPoK8cDiPWwRwTcenUlbRM95tnnp1KbPHt8FbVBJCs6yZcpFm4xfQ8KwI0UAXhCG5FygY_tt4C3wrb_XWFbTTZwAT7hxYT0X08QyKT3jqV_Hq/s1600/Talboys-Drama.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="877" data-original-width="637" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirLf_byObd1eZiRKObahTeX9BM83CghMxQPoK8cDiPWwRwTcenUlbRM95tnnp1KbPHt8FbVBJCs6yZcpFm4xfQ8KwI0UAXhCG5FygY_tt4C3wrb_XWFbTTZwAT7hxYT0X08QyKT3jqV_Hq/s400/Talboys-Drama.jpg" width="290" /></a></div>
<div class="western" style="margin-bottom: 0cm; text-align: center;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<b>Your earliest
published books were non-fiction. What subjects did these cover and
how did they come about? Did these help give you the discipline you
needed when turning your pen to longer fiction?</b></div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
When I was a Drama
teacher, I used a lot of games in my work as warm up, and sometimes
just for fun. I collected these over the years and compiled a
collection. Spent years trying to find a publisher and eventually did
so. It was a set text in Ireland apparently for a while. But my first
published full length works were derived from my time working in
museum education.</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
I worked a lot with
student teachers during my time as a museum education officer as it
seemed better to train teachers how to use museums than constantly
repeat work with children. I received a substantial grant from the St
Hild and St Bede Trust to carry out research into this. Much of the
book work was done at libraries at Durham University in the mornings
and (weather permitting) I’d spend the afternoons in the botanical
gardens writing up notes and drafting parts of the book.</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
The intention was to
provide a comprehensive guide for student and practising teachers on
how to plan visits to museums and make best use of the resource once
there. This ended up with the snappy title of <i>Using Museums as an
Educational Resource</i>. It’s now in a second edition with
Routledge. The original publisher (Ashgate – since bought out by
Routledge) liked it so much they commissioned a second book. This was
written for museum education officers and was a handbook on how to
set up and run a museum education department and has the equally
snappy title of <i>Museum Educator’s Handbook</i>. This one is now
into a third edition and still selling. It’s not a big market, but
I’m proud of both.</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjN5EJoCIMke_nkRwnw1LXNQX-OW8gpk8tFB46YvUmF4aPRY2WD7usvxxn2VVqkDh8sUHkbBx6D14SJ8D-LOdqmG7Qzi-qrVW5v0DG8-qAYCURevQq-qjCpPZV-wFAVgnZIoz4-HxHrSC7d/s1600/Talboys-Museums.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="400" data-original-width="265" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjN5EJoCIMke_nkRwnw1LXNQX-OW8gpk8tFB46YvUmF4aPRY2WD7usvxxn2VVqkDh8sUHkbBx6D14SJ8D-LOdqmG7Qzi-qrVW5v0DG8-qAYCURevQq-qjCpPZV-wFAVgnZIoz4-HxHrSC7d/s400/Talboys-Museums.jpg" width="265" /></a></div>
<div class="western" style="margin-bottom: 0cm; text-align: center;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
Not wanting anything to
go to waste, I’m currently working on a book for writers on how to
get the best out of museums for writing research. I’ve also drafted
a much broader book on the craft of writing aimed at older teenagers
that I’ll get round to sorting out one of these days.
</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
It must be the teacher
in me, but if I have an interest in something, I invariably write
about it to pass on what I have learned. So it was inevitable that my
interest in Druidry would lead me to write about that as well. I
co-wrote two books with a good friend of mine, Julie White. That was
a remarkable experience. I have never understood how anyone can
co-write fiction (although I am glad some can because the Strugatsky
brothers produced some of the finest science fiction ever) but
non-fiction seemed a perfect fit allowing books that covered a wider
range of knowledge and experience. I have also written on the subject
on my own and have plenty of research material piling up for future
books.</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
Although I had written
sustained pieces of fiction in the past, I’d only ever once reached
the kind of word counts needed for commercially viable fiction.
Publishers are wary of anything shorter than 70,000 words unless you
are well known. So, from that perspective, completing substantial
works of non-fiction meant I knew I could do it again.</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
However, I found that
the discipline of writing all that non-fiction had blunted my
creative edge. That’s where the Open University came to the rescue,
giving me the space in which to explore what I wanted to do with
fiction in small chunks with lots of guidance and critical input from
a lot of other wildly creative people. It didn’t take long. The
fiction had clearly been dammed up. It took one little crack and a
distinct absence of meddling Dutch boys poking their fingers where
they weren’t wanted.</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<b>Have you any
interest in writing in any other genres, e.g. Mainstream Lit or
"Tartan Noir"?</b></div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
I write spy novels as
well. Some people find that odd, but all my characters live in
shadowy worlds on the borderlands and spy novels (as opposed to
shoot-em-up thrillers) have always seemed to me to be the essential
literature of the 20th and 21st century – Graham Greene, Len
Deighton, Anthony Price, Ted Allbeury, and John le Carré. What
attracts me is the fact that in the real world of intelligence you
often find ordinary people doing (mostly) ordinary things, yet their
work sits in the dark heart of contemporary politics. It is a
wonderful place in which to examine questions of morality and
survival in a world where the work and the people are deemed both
essential and pariahs at the same time.</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<b>Do you have a fairly
strict routine as a writer? How do you go about composing your prose
on a day to day basis? What keeps the words flowing? How many words
do you aim to write in a day?</b></div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
I try to have a
routine, but life… well, we all have that. I much prefer to write
when everyone else is asleep. It’s not just the actual fact that
I’m less likely to be interrupted, but also the psychological
factors – I find it much easier to focus when the world is dark and
I’m in a small bubble of light with music in my ears. Sensory
deprivation makes my internal world easier to access.</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
Writing (in common with
other creative endeavours) involves studying the world until one
finds the ways to access the many realities beyond the mirrored
surface of everyday life. Having found doors, we are compelled to
step through, explore, and bring back reports of the people, places,
and events we have encountered. It is a complex and magical
endeavour, the hardest part of which is the last. Breaking through
into other worlds and exploring is quite common. We all daydream. So
is returning, although some never do. Creating a report takes not
only an understanding of what you have experienced, but also the
ability to communicate that to anyone willing to engage with what you
create.</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
The first draft of a
work is something I try to write as quickly as possible. I plan
everything. It saves work later. My plans are never rigid, but I need
to know where each chapter or section is going and how my characters
are meant to respond. Sometimes the characters and events surprise
me, but for the most part I like to have overall control.</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
It’s a bit like
planning a road trip. As an example, I might want to go from home to
Brighton, visiting Carlisle, York, Clun, Stroud, and Upper Dicker on
the way. What happens between those specific destinations depends on
many other factors. This allows me to know where the story is going
without having too tight control before you start. Things that are
plotted too tightly aren’t much fun to write as you’ve already
made the whole journey before you begin.</div>
<div class="western" style="margin-bottom: 0cm;">
<br />
With an outline in
front of me, I can then pound out a rough draft (aiming, usually for
three thousand words a day – a full-length novel in a month). Even
though the rough draft is going to be rough, speed is important. It
stops me getting bored with the story, it ensures I complete the
project, and it gives coherence to the story because within that time
frame you can hold all the details in your head. This is, of course,
an ideal. Some books have taken a lot longer, but this is the method
I tend to use these days.</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
The craft aspects, all
the editing which takes much longer than compiling the first draft,
is much more easily accomplished in silence. Me, a typescript, red
pen, notepad, thesaurus and dictionary. I love this bit just as much
as pounding out that first draft. This is where you take the rough
lump you’ve hacked out of the mines of your imagination and start
refining its shape. And this is another reason I like to get the
first draft down as quickly as possible. It means I have the whole
book in front of me to reference when I’m editing. If you try to
polish as you go, it can be a lot wasted work. You can write and
polish a perfect first chapter only to find that half way through
chapter three you need to go back and rewrite part of chapter one
because you have had an idea about a character than enriches the
story.</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
For me, the first edit
is reading the rough draft and making notes about all this sort of
thing, thinking about where things should be introduced, how
characters should develop, sorting out plot holes, and so on.</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
As for what keeps this
all going… I don’t know. I have never been stuck for ideas. I
have more than I’ll ever be able to use in my lifetime. There are
days when the brain cannot handle the current project. I used to fret
about these, which simply made the situation worse. Nowadays I have
come to accept that there are days where your daily diet of mint-choc
ice-cream gets a bit much and you need a day or two of baked
potatoes. So I switch projects and work on something else, tidy my
desk, or tackle one of the many manual jobs on my list (the bathroom
needs decorating, for example). Long before one of those is complete
I’m itching to get back to the computer.</div>
<div class="western" style="margin-bottom: 0cm;">
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhubja9b-rBuTxryBknIqQTxQhcTJlELWsw_VSL7s9a-yNRuxnBHANVsNYx3IZKhrbibfjrNo2c_E6j1bOrpLRR2nIDb0dPC6Lt9ektw4JkHwMD76S9DMN1H1rJh6VGHrf5ES7BW8hoB69c/s1600/talboys-greyhouse2.gif" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="100" data-original-width="750" height="84" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhubja9b-rBuTxryBknIqQTxQhcTJlELWsw_VSL7s9a-yNRuxnBHANVsNYx3IZKhrbibfjrNo2c_E6j1bOrpLRR2nIDb0dPC6Lt9ektw4JkHwMD76S9DMN1H1rJh6VGHrf5ES7BW8hoB69c/s640/talboys-greyhouse2.gif" width="640" /></a></div>
</div>
<div class="western" style="margin-bottom: 0cm; text-align: center;">
</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<b>Here at AvantKinema
we are very much interested in the zero-budget, DIY, self-publishing
ethos of the post-punk years: fanzines, home recording, indie labels
run out of bedrooms and the cartel of micro-distributors working
collectively to further the cause for everyone involved. Have you
self published any of your work, or used print-on-demand to help get
your work out there? What was your experience of this? Would you
recommend this as a possible route for writers to take?</b></div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
I have done this.
Indeed, I run two small imprints (Grey House in the Woods and Monkey
Business). My published work is still a mix of traditional and
self-published, with some of it crossing over (Jeniche began life as
a self-published project and was taken up by HarperVoyager by way of
Roundfire). I have also produced e-books and use print-on-demand.</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
It was a lot to learn.
When I first self-published you had to send stuff to a printing firm
and to make the unit costs worthwhile, you had to have 500 or more
copies printed. It’s a huge investment in something that may never
sell. Print-on-demand means that each book printed is a bit more
expensive, but you don’t have hundreds of copies piled up in boxes
stressing you out each time you look behind the sofa.</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
Nowadays the process is
so simple it takes a matter of days to get your finalised piece of
work ready for electronic and paper press. And it is relatively
cheap. Even if you avoid using Amazon as your e-publisher, costs are
minimal. To set up a book for paper printing is about £70 if you do
all the work yourself.</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
The real problems faced
by any do-it-yourselfer are two-fold. The first is ensuring you put
out a professional product. It doesn’t matter if it is mainstream
or so far off the wall it’s in the next street, it has to be
finished to a professional standard. Now that is not always easy to
judge. It’s your work, after all. Bound to be a masterpiece. So it
helps, in the case of writers, to have beta readers – people you
trust to give you an objective assessment of the work as a whole and
(if you are extremely lucky) who will point out typos and other
errors. I have a couple of friends like this and I do the same for
them. It is why arts community is so important. And the presentation
has to be spot on as well. A properly designed cover with attractive
artwork, well set out text, and all the other things you expect of a
book.</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
The second problem is
selling your work. I work with a distributor in the UK (which is as
far as my p-books reach) who, for an extra small percentage, does a
lot of marketing. The books I print are never going to reach the best
seller list, but they do sell steadily and have long since paid for
themselves.</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
Most self-published
books that reach large audiences do so by accident or because the
authors have risked a small fortune on advertising (or who have
parents prepared to do that for them). Publishing is a risky
business, as is writing and any other creative endeavour.</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
There is, of course, a
lot more to it. ISBNs, getting copies to copyright libraries, paying
authors their royalties, and so on. But I have learned a lot about
writing by being involved in the other side of the business. And if I
could crack the magic that is marketing…</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrACZaxz040eKOnUm9es7fpdYtZAQmAQYxXRfXaEObm9KJx19muDCFqcHASuqXbU3XshdXOdF9davPVZgqGrtvFqxL-dP8nENwgSWZeNq3lJf9cdrsOkNhzLoraxuhB-fsbILeGBOQkbxT/s1600/Talboys-Jen-Exile.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="455" data-original-width="298" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrACZaxz040eKOnUm9es7fpdYtZAQmAQYxXRfXaEObm9KJx19muDCFqcHASuqXbU3XshdXOdF9davPVZgqGrtvFqxL-dP8nENwgSWZeNq3lJf9cdrsOkNhzLoraxuhB-fsbILeGBOQkbxT/s320/Talboys-Jen-Exile.jpg" width="209" /></a></div>
<div class="western" style="margin-bottom: 0cm; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbecONUcpW-rZi3xhCW4aQrBMsBg7aJEsP5m5m1P0TSj1BRg7X-VrPwrmouEZY2T1UYN_79HbRaurWA64hWX-06sPtioAoyh4WyLdFiQ0HNO9DaAuRBAhz4wpLveJimK462b977MHN2Rq7/s1600/Talboys-Jen-Players.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="454" data-original-width="298" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbecONUcpW-rZi3xhCW4aQrBMsBg7aJEsP5m5m1P0TSj1BRg7X-VrPwrmouEZY2T1UYN_79HbRaurWA64hWX-06sPtioAoyh4WyLdFiQ0HNO9DaAuRBAhz4wpLveJimK462b977MHN2Rq7/s320/Talboys-Jen-Players.jpg" width="210" /></a> </div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<b>By contrast, what
has your experience been like with regards mainstream publishing? How
did you find your way to your agent and to HarperVoyager? What
difference have these made to your life? Do you still intend to
self-publish any works which are not quite suitable for HV? Is this
something they are happy for you to do?</b></div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
Mainstream fiction publishing came as a bit of a shock. HarperVoyager had an open submissions period some years ago (when you could submit without having to have an agent) and I sent in the second Jeniche book and promptly forgot all about it. About eighteen months later I received an email asking me to phone the editor at HV. I thought it was a joke. Turned out it wasn’t. Mayhem ensued for a couple of weeks. At the end of that I had a literary agent (the wonderful Leslie Gardner) and a three book contract.<br />
<br />
Landing a contract with a big publisher doesn’t guarantee success, of course. The Jeniche books have not sold well enough for Harper to want to buy the rest of the series. Where we go from here is yet to be decided, but my agent and I will continue to plug the first series in concert with Harper whilst looking for a home for the second series.<br />
<br />
On the plus side, I got some fabulous covers and editors who understood the genre and read the works with an almost frightening attention to detail. Also, I get to put ‘published by HarperVoyager’ on my CV, which is no mean feat.<br />
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<b>What will you be
working on over the next year?</b></div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
There is a long list of
work to be done. The second Charlie novel needs its first draft
completed. Then I have two more Jeniche novels to be drafted, and
another to be properly plotted. That will round off the Jeniche
series. I’ll take a break then and draft up my book for writers on
how to use museums as a research resource. There will doubtless be
Charlie short stories. And I may have to drop everything if my agent
sells any of my other work. And there are other projects that will go
forward to the next stage of development (a grimepunk,
time-travelling mystery that also manages to mash up Wells and
Dickens; the outlining of a nine/ten book epic space fantasy that
charts the two thousand year history of two galactic empires that
rise, clash, and diminish; and there are the usual glimmerings of
other ideas that may, or may not develop further).</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
It looks ambitious, but
I lost a lot of time this year to ill health and other intrusions
from the outside world so I want to catch up a bit.</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
<b>Thank you, Graeme.</b></div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
<div class="western" style="margin-bottom: 0cm;">
My pleasure, and thank
you for the opportunity to lift the lid a little for others to peep
inside.<br />
<br />
<center>
<b>SCIENCE FICTION
<br />
<a href="https://www.amazon.co.uk/Thin-Reflections-Graeme-K-Talboys/dp/0955760623/ref=sr_1_1?s=books&ie=UTF8&qid=1515601024&sr=1-1&keywords=thin+reflections">Thin Reflections</a>
<br /><a href="https://www.amazon.co.uk/STORMWRACK-Graeme-K-Talboys/dp/095576064X/ref=sr_1_2?s=books&ie=UTF8&qid=1515600923&sr=1-2&keywords=Stormwrack">Stormwrack</a>
<br />
<br />
FANTASY
<br />
<a href="https://www.amazon.co.uk/Stealing-Into-Winter-Shadow-Storm/dp/0008120447/ref=sr_1_1?ie=UTF8&qid=1515600871&sr=8-1&keywords=Stealing+into+Winter+shadow+in+the+storm">Stealing into Winter</a>
<br /><a href="https://www.amazon.co.uk/Exile-Pilgrim-Shadow-Storm-Book/dp/0008153795/ref=sr_1_2?s=books&ie=UTF8&qid=1515601441&sr=1-2&keywords=exile+and+pilgrim">Exile and Pilgrim</a>
<br /><a href="https://www.amazon.co.uk/Players-Game-Shadow-Storm-Book/dp/0008153809/ref=sr_1_8?s=books&ie=UTF8&qid=1515601487&sr=1-8&keywords=players+of+the+game">Players of the Game</a>
<br /><a href="https://www.amazon.co.uk/Wealden-Hill-Novel-Graeme-Talboys/dp/0954053133/ref=sr_1_1?s=books&ie=UTF8&qid=1515601183&sr=1-1&keywords=wealden+hill">Wealden Hill</a>
<br />
<br />
NON FICTION
<br />
<a href="https://www.amazon.co.uk/Aaargh-Zizz-135-Drama-Games/dp/0953777057/ref=sr_1_1?ie=UTF8&qid=1515601339&sr=8-1&keywords=Aaargh+to+Zizz">Aaargh to Zizz: 135 Drama Games</a>
<br /><a href="https://www.amazon.co.uk/Using-Museums-Educational-Resource-Introductory/dp/1138255351/ref=sr_1_1?s=books&ie=UTF8&qid=1515601378&sr=1-1&keywords=using+museums+as+an+educational+resource">Using Museums as an Educational Resource</a>
<br /><a href="https://www.amazon.co.uk/Druid-Way-Made-Easy/dp/1846945453/ref=sr_1_2?s=books&ie=UTF8&qid=1515601090&sr=1-2&keywords=the+druid+way">The Druid Way Made Easy</a></b>
</center>
</div>
<div class="western" style="margin-bottom: 0cm;">
<br /></div>
Athene Noctuahttp://www.blogger.com/profile/15138777467179453959noreply@blogger.com1tag:blogger.com,1999:blog-2808512155163057333.post-66777860858893901572018-01-07T05:21:00.000-08:002018-01-07T05:21:02.697-08:00Daniel Fawcett & Clara Pais: Film Panic Magazine / The Underground Film Studio<div class="separator" style="clear: both; text-align: center;">
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If you have any interest in underground cinema or experimentalism in the arts then we'd urge you to check out the essential Film Panic magazine, available as both a free pdf and limited edition print run.</div>
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Film Panic is beautifully compiled by artist-filmmakers, Daniel Fawcett and Clara Pais, who create lavish, startling, dreamlike, unsettling, wonderful feature films under the banner of The Underground Film Studio.</div>
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still from <i>Black Sun</i></div>
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Clara and Daniel are two of the most industrious, creative, innovative, genuine and generous people we know. We had the pleasure of first meeting them in February 2017 when they invited us to screen our short film, Orphine (2014), in the beautiful city of Porto in Northern Portugal. </div>
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D&C were perfect hosts for the three days we visited with our son, helping find us free accommodation with a relative, showing us all around Porto, Gaia and the seaside town of Espinho where we collaborated on an impromptu Surrealist black & white Super 8 film, starring our new friends, which we entitled, In The Arbor of the Bitter Orange (2017).</div>
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Daniel and Clara followed us back to the UK when they did a short British tour to promote their two most recent films: The Kingdom of Shadows (2016) and In Search of the Exile (2016). They soon joined us in our hometown of Galashiels, where all four of us put on an event, MoonMoths at the MacArts Church, an AvantKinema / Film Panic co-production, which featured absurdist comedy from Paul Vickers aka Mr Twonkey, experimental short films from around the world by Duncan Reekie (England), Walter Ungerer (USA), Dagie Brundert (Germany), Allan Brown (Canada) and ourselves. We also played indie music videos by all the bands we know, and had a special screening of the first feature Clara and Daniel created together, Savage Witches (2012). A couple of days later we put on a double bill screening - D&C's In Search of the Exile and our Merzfrau (2017) - at Edinburgh's brilliant Vegan-friendly arts cafe, The Forest, thanks to the wonderful Ela Nagaj.</div>
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Daniel and Clara have continued to support our work in many ways, including offering us an indepth interview for the most recent issue of Film Panic. D&C's thoughtful and insightful questions helped us fully consider our own filmmaking practice, our history in the arts and our philosophies of living. They are so dedicated to making Film Panic the definitive journal of contemporary underground and experimental cinema that each interviewee featured is likewise encouraged to spill their guts on their art.</div>
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You owe it to yourself to check out the free PDFs and/or purchase a limited edition copy of the beautifully put together print edition!</div>
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As well as a new series of shorts created with analogue video equipment and the latest feature, Black Sun (2017), Clara and Daniel have starred as performers in the feature, Phantom Islands, shot on location in Ireland by their friend, the amazingly talented film director Rouzbeh Rashidi, due for release in 2018. x</div>
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Film Panic:<br />
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Underground Film Studio:<br />
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Phantom Islands (dir: Rouzbeh Rashidi, 2018):<br />
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Athene Noctuahttp://www.blogger.com/profile/15138777467179453959noreply@blogger.com0tag:blogger.com,1999:blog-2808512155163057333.post-90534866336598743782017-12-06T11:09:00.003-08:002017-12-07T11:51:51.464-08:00Margaret Tait Award Nomination<style type="text/css">P { margin-bottom: 0.21cm; }</style>
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<span style="font-family: "trebuchet ms" , sans-serif;"><b>PRESS
RELEASE<br />Margaret Tait Award nomination for Sarahjane Swan &
Roger Simian (The Bird And The Monkey / Avant Kinema)</b> </span><br />
<span style="font-family: "trebuchet ms" , sans-serif;"><br />Scottish
Borders based artist-filmmakers, Sarahjane Swan and Roger Simian (aka
The Bird And The Monkey), are proud to announce that they have been
nominated for the <span lang="en-US">2018/19
Margaret Tait Award. Established in 2010, the annual award - a
Glasgow Film Festival commission supported by Creative Scotland and
LUX Scotland - was named in honour of the experimental Orcadian
filmmaker, Margaret Tait (1918-1999). It celebrates innovative
Scottish artists working with the moving image. Each year, the
winning nominee is awarded a £10,000 prize to create new work, with
the opportunity to screen the finished film at the Glasgow Film
Festival.</span></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;"><span lang="en-US"><span style="font-size: x-small;"> Sarahjane Swan & Roger Simian</span></span> </span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;">“<span lang="en-US">It’s
so exciting to be nominated,” says Dunbar-raised
artist/filmmaker/musician, Sarahjane Swan, a Fine Arts Sculpture
graduate from Gray’s School of Art, who found her way to Roger
Simian through a shared love of alternative music and 20</span><sup><span lang="en-US">th</span></sup><span lang="en-US">
Century avant-garde art movements. “You could say that The Margaret
Tait Award is the pinnacle that any experimental moving image artist
in Scotland aspires towards. We really are </span><span lang="en-GB">honoured.</span><span lang="en-US">”</span></span></div>
<div style="text-align: left;">
<span style="font-family: "trebuchet ms" , sans-serif;"><span lang="en-US"><br />Writer/filmmaker/musician,
Roger Simian, agrees. The one time guitarist with Dawn Of The
Replicants, was brought up in Edinburgh and the Borders but has a
strong family link with the Orkney Islands, where Margaret Tait
herself was raised. “My Grandfather, Gerry Meyer, a journalist from
London with Swiss-French parents, was stationed in Orkney during
World War II. He helped to found one of the earliest forces
newspaper, </span><span lang="en-US"><i>The
Orkney Blast</i></span><span lang="en-US">,
married a local Stromness lass, Norah Hancox, and settled on the
Islands, becoming editor of the </span><span lang="en-US"><i>Orcadian</i></span><span lang="en-US"> newspaper for many decades. My Mum is from Stromness and older
members of my family actually knew Margaret Tait, who was from
Kirkwall, so we’ve been aware of her work right from the start of
our first experiments with filmmaking.” </span></span><br />
<span style="font-family: "trebuchet ms" , sans-serif;"><span lang="en-US"><br /></span></span></div>
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<div style="text-align: center;">
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: x-small;"><i>Stromness by Moonlight</i><br />Digital stills shot during the <br />filming of the short film, <i>Orkneyinga</i></span> </span><br />
<div style="text-align: left;">
<span style="font-family: "trebuchet ms" , sans-serif;"><br /></span><span style="font-family: "trebuchet ms" , sans-serif;">“<span lang="en-US">We
visited Orkney for a week in April,” says Sarahjane. “It’s so
beautiful and with so much history: just gorgeous. We got the
authentic Orkney experience this time as it was blowing a gale and it
felt like we were in the middle of a hurricane, looking at all this
mind-blowing scenery: the rugged landscape, severe cliff faces,
raging sea. I did visit Orkney years ago, not long after I met Roger,
but this is the first time we’ve brought our son along. He is
autistic and he just loves extreme weather, so he was blown away.”</span></span><span style="font-family: "trebuchet ms" , sans-serif;"> </span></div>
<br />
<div style="text-align: left;">
<span style="font-family: "trebuchet ms" , sans-serif;">“<span lang="en-US">Not
literally,” quips Roger.</span></span></div>
<br />
<div style="text-align: left;">
<span style="font-family: "trebuchet ms" , sans-serif;"><span lang="en-US">Sarahjane
adds: “We were out there at the Ring of Brodgar with our Super 8
cameras and our Nikon, and we made a short experimental film, a
mixture of analogue and digital filmmaking, which we’ve called
</span><span lang="en-US"><i>Orkneyinga</i></span><span lang="en-US">,
after the Viking sagas.”</span></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;"><span lang="en-US"><span style="font-size: x-small;">Orkney captured in home-processed Super 8</span></span></span><br />
<span style="font-family: "trebuchet ms" , sans-serif;"><span lang="en-US"><span style="font-size: x-small;"><br /> </span></span></span></div>
<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><span lang="en-US">Being
nominated for The Margaret Tait Award is the icing on the cake of an
already exceptional year for Swan and Simian, whose eclectic mix of
songs, film, art and writing have over the years earned them
screenings throughout Scotland, London, Europe and North America, as
well as radio play on BBC 6 Music from one time New Wave pop star,
Tom Robinson. </span></span></span><br />
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><span lang="en-US"><br />The pair, who now create their experimental visual
works under the banner, Avant Kinema, </span></span><span style="font-size: small;">enjoyed
a Creative Scotland funded trip to the London Short Film Festival in
January; were invited by fellow filmmakers Daniel Fawcett and Clara
Pais to screen in Porto, Portugal in February; put on the
Experimental Arts Event, </span><span style="font-size: small;"><span lang="en-US"><i>Moon
Moths</i></span></span><span style="font-size: small;"><span lang="en-US">,
in collaboration with</span></span><span lang="en-US">
Fawcett and Pais in Galashiels; received a grant from the South of
Scotland VACMA (Visual Artists and Craft Makers Awards); contributed
Super 8 / analogue work to Scottish director Grant McPhee's feature
film </span><span lang="en-US"><i>Far
From The Apple Tree</i></span><span lang="en-US">;
</span><span style="font-size: small;"><span lang="en-US">
collaborated with renowned fashion designer, Jacqui Burke from
Dunbar, for an event at the Voodoo Rooms in Edinburgh; screened films
in Poland and Bulgaria with Iga Rita Stepien's Station to Station and London with The
Exploding Cinema; joined Playwrights' Studio Scotland's Scottish
Borders Playwriting Programme with Jules Horne; </span></span><span style="font-size: small;">and
had work broadcast across America through the cable access
experimental film show, </span><span style="font-size: small;"><span lang="en-US"><i>Here
Comes Everybody</i></span></span><span style="font-size: small;"><span lang="en-US">. </span></span></span><br />
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><span lang="en-US"><br /> </span></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLXFgCzXgIomCMktEZpqWq8kFmLCYmG_mhtxaXsvDH0mD6Sw0FxLBlLNqoAc-scs7IsJivt3Wgtr_VUiD0ttsa_9S9jy562zJrhmIe4aoEL7b-A4LqoyZRHFNi307zcaSjol6cLxG1AqsZ/s1600/MoonMothMacArts-2017-March-01.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1415" data-original-width="1000" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLXFgCzXgIomCMktEZpqWq8kFmLCYmG_mhtxaXsvDH0mD6Sw0FxLBlLNqoAc-scs7IsJivt3Wgtr_VUiD0ttsa_9S9jy562zJrhmIe4aoEL7b-A4LqoyZRHFNi307zcaSjol6cLxG1AqsZ/s640/MoonMothMacArts-2017-March-01.jpg" width="451" /></a><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><span lang="en-US"> </span></span></span><br />
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><span lang="en-US"> </span></span></span>
</div>
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><span lang="en-US">Previous
winners of The Margaret Tait Award have included the Scottish video
artist, Rachel MacLean, whose highly distinctive work with green
screen, costumes / make up and meticulous lip-synching has led to her
representing Scotland at this year’s Venice Biennale, as well as
creating an iconic portrait of Billy Connolly for a recent BBC
documentary. MacLean’s work for the Venice Biennale, </span></span><span style="font-size: small;"><span lang="en-US"><i>Spite
Your Face</i></span></span><span style="font-size: small;"><span lang="en-US">,
was commissioned by Alchemy Film & Arts, an organization Swan and
Simian have also worked with extensively. In 2016 this partnership
led to their Super 8 filmmaking workshop in Burnfoot Community Hub in
Hawick, with future workshops to follow in 2018. Since 2012, the pair
have also created four full-scale video-art installations,
commissioned by Alchemy director Richard Ashrowan, for the yearly
experimental film festival in Hawick.<br /> </span></span></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif; font-size: x-small;"><span style="font-size: x-small;"><span lang="en-US"><span style="font-size: xx-small;">Still from <i>Alphonso's Jaw</i> installation, commissioned for<span style="font-size: xx-small;"><br />Alchemy Film and Moving Image Festival, Hawick, 2016</span></span> </span></span></span></div>
<span style="font-family: "trebuchet ms" , sans-serif; font-size: x-small;">
</span>
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<div class="western" style="margin-bottom: 0cm;">
<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;"><br />"The
Margaret Tait Award nomination brings 2017 to a fantastic end,"
says Sarahjane. "Now we can start properly looking to the
future. In 2018 we plan to develop our work even further, expand our
ideas and hopefully work on our own first feature-length film
project."</span></span></div>
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<div class="western" lang="en-US" style="margin-bottom: 0cm; text-align: center;">
<span style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><span style="font-size: x-small;"><b><br />LINKS </b></span></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: small;">
<style type="text/css">P { margin-bottom: 0.21cm; }</style></span></span></div>
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<span style="font-size: large;"><a href="http://www.thebirdandthemonkey.com/swansimian" target="_blank"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-style: normal;"><b>Swan-Simian Artist Website</b></span></span></a></span></div>
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<br />
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<span style="font-size: large;"><a href="https://vimeo.com/avantkinema" target="_blank"><span style="color: black;"><span style="font-family: "trebuchet ms" , sans-serif;"><span lang="en-US"><span style="font-style: normal;"><b>AvantKinema on Vimeo</b></span></span></span></span></a><span style="color: black;"><span style="font-family: "trebuchet ms" , sans-serif;"><span lang="en-US"><span style="font-style: normal;"><span style="font-weight: normal;"></span></span></span></span></span></span></div>
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<span style="font-size: large;"><a href="https://www.facebook.com/groups/1181494238651996/" target="_blank"><span style="color: black;"><span style="font-family: "trebuchet ms" , sans-serif;"><span lang="en-US"><span style="font-style: normal;"><b>AvantKinema Experimental <br />Arts Group on FaceBook</b></span></span></span></span></a></span><span style="color: black;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: x-small;"><span lang="en-US"><span style="font-style: normal;"><span style="font-weight: normal;"><br /></span></span></span></span></span></span></div>
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Athene Noctuahttp://www.blogger.com/profile/15138777467179453959noreply@blogger.com0tag:blogger.com,1999:blog-2808512155163057333.post-25919155042698679052017-05-22T00:38:00.000-07:002017-05-30T14:55:58.401-07:00In The Dark I Sat script sample<div style="text-align: center;">
<span style="font-size: large;"><span style="font-family: "courier new" , "courier" , monospace;"><b>IN THE DARK I SAT <br />experimental film script sample </b></span></span></div>
<div style="text-align: center;">
<span style="font-family: "courier new" , "courier" , monospace;"><b><span style="font-size: large;">by Roger Simian & Sarahjane Swan, 2012</span> </b></span><br />
<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgX3CAVbDK7jQKcBpDGBwQsx-vg-ZlF5TnHbLsCjbJxZmTriPBVRCtvU6LcEKHq7o6HJessl4eElnch5uMgLh1fkvsd6eys6Kmfl1mBrUz1QQpAXouCpu4Jn-oa0kWaWGVxurkdSZ0c_VcW/s1600/BirdMonkey-InTheDark-STILLS01501.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgX3CAVbDK7jQKcBpDGBwQsx-vg-ZlF5TnHbLsCjbJxZmTriPBVRCtvU6LcEKHq7o6HJessl4eElnch5uMgLh1fkvsd6eys6Kmfl1mBrUz1QQpAXouCpu4Jn-oa0kWaWGVxurkdSZ0c_VcW/s320/BirdMonkey-InTheDark-STILLS01501.jpg" width="320" /></a></div>
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<span style="font-family: "courier new" , "courier" , monospace;"><br /></span>
<span style="font-size: large;"><span style="font-family: "courier new" , "courier" , monospace;"><b>SYNOPSIS</b></span></span>
<br />
<span style="font-family: "courier new" , "courier" , monospace;">In the days beyond The Fluxing, the times of The Soft Borders, The Great Anomolies, Hypocritical Phenomena, when worlds collapsed and the fabric between realities became fluid, an artist and the man she lost search for each other in reflections, shadows and dreams.
</span><br />
<span style="font-family: "courier new" , "courier" , monospace;"><br /></span>
<span style="font-family: "courier new" , "courier" , monospace;"><b><br /><span style="font-size: large;">CAST AND CREW</span></b></span>
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<span style="font-family: "courier new" , "courier" , monospace;">Production, Script, Direction, Performance, Videography, Editing, Sound, Music and Songs by Sarahjane Swan and Roger Simian.
</span><br />
<span style="font-family: "courier new" , "courier" , monospace;"><br /></span>
<span style="font-family: "courier new" , "courier" , monospace;"><b><br /><span style="font-size: large;">SCREENINGS</span></b></span>
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<span style="font-family: "courier new" , "courier" , monospace;">Portobello Film Festival (London) - World Premier at Great Western Studios, 7th September, 2012
</span><br />
<span style="font-family: "courier new" , "courier" , monospace;">Alchemy Film and Moving Image Festival (Scotland) - Scottish Premier at The Screening Room, Heart of Hawick, 27th October 2012
</span><br />
<span style="font-family: "courier new" , "courier" , monospace;"><br /></span>
<span style="font-family: "courier new" , "courier" , monospace;"><b><span style="font-size: large;"><br />SCRIPT SAMPLE </span>
</b></span><br />
<span style="font-family: "courier new" , "courier" , monospace;"><br /><b>INT. Bedroom. Day.</b>
<br />A woman sits, demure and melancholy, trying out her various personae in the glare of the mirror.
</span><br />
<span style="font-family: "courier new" , "courier" , monospace;"><br /></span>
<span style="font-family: "courier new" , "courier" , monospace;"><b>Woman's Voice:</b>
</span><br />
<span style="font-family: "courier new" , "courier" , monospace;"><i>What if I went looking? Came to find you? What if I came to find you? What if I were to press my palm flat against this icy reflection? Instead of the cold solidity I was expecting I found something warm, something fluid? I would push my fingers into this glass, into this glass like a knife into honey. I'd watch my hands slip on through, my reflected self rippling, glass rippling around my wrists like the ocean around the rocks. What if I went looking? Came to find you? What if I came to find you? </i>
</span><br />
<span style="font-family: "courier new" , "courier" , monospace;"><br /></span>
<span style="font-family: "courier new" , "courier" , monospace;"><br /><b>EXT. Busy Street. Evening.</b></span><br />
<span style="font-family: "courier new" , "courier" , monospace;">A man briskly wanders through the dark streets. Shadows creep and spin in the strobe-flash of passing traffic and electric shop front lighting.
</span><br />
<span style="font-family: "courier new" , "courier" , monospace;"><br /></span>
<span style="font-family: "courier new" , "courier" , monospace;"><b>Man's Voice: </b>
</span><br />
<span style="font-family: "courier new" , "courier" , monospace;"><i>I had a dream. I had to get out, take a walk. I had a dream about The Fluxing, when worlds disintegrated and the fabric between realities became fluid. Vines and tree roots grabbed at my arms and ankles like monstrous fingers. My pursuers - shadowghasts with snaking necks and blazing eyes - fell on me, spitting and hissing like geese, their long necks swaying in a malevolent dance. I hoped, I prayed that some uncharted Soft Border would appear. That I could rip through the membrane of this reality into a safer world. </i>
</span><br />
<span style="font-family: "courier new" , "courier" , monospace;"><br /></span>
<span style="font-family: "courier new" , "courier" , monospace;"><br /><b>INT. Bedroom. Day.</b>
</span><br />
<span style="font-family: "courier new" , "courier" , monospace;"><br /></span>
<span style="font-family: "courier new" , "courier" , monospace;"><b>Woman's Voice: </b>
</span><br />
<i><span style="font-family: "courier new" , "courier" , monospace;">I think I saw him again. Saw him in my peripheral vision. He was important to me. My husband, I think, in that other place. In that other world before The Fluxing. We had a life together. He saw me red on the screen. I was a photographer. Or... or was I an actress? I wish I had some photographs. I wish I'd photographed the life we had together. I can almost see him in the shadows.
</span></i><br />
<span style="font-family: "courier new" , "courier" , monospace;"><br /></span>
<span style="font-family: "courier new" , "courier" , monospace;"><br /><b>INT. Hallway. Day.</b></span><br />
<span style="font-family: "courier new" , "courier" , monospace;">In split-screen the woman stands before us, before the mirror, with her camera, attempting to capture her own reflection.
</span><br />
<span style="font-family: "courier new" , "courier" , monospace;"><br /></span>
<span style="font-family: "courier new" , "courier" , monospace;"><b>Woman's Voice:</b> </span><br />
<span style="font-family: "courier new" , "courier" , monospace;">(as though tape has been cut up and
wrongly spliced back together like a
William Burroughs / Brion Gysin recording)
</span><br />
<span style="font-family: "courier new" , "courier" , monospace;"><i>The 244 x 173 cm painting covered a canvas in Indian red Barnett down the centre. By sticking a thin strip of European-influenced 'biomorphic' style to test the colour in reference to his own article, 'The First Man Was a lighter cadmium, the artist was the thin band only a few centimetres thick down the unevenly spread gallery wall, 'the motive force for red intended to invoke that terror of the 'New York School', whose style became known as the 'unknowable' dense masking tape.</i>
</span><br />
<span style="font-family: "courier new" , "courier" , monospace;"><br /></span>
<span style="font-family: "courier new" , "courier" , monospace;"><br /><b>EXT. Busy Street. Evening.</b>
</span><br />
<span style="font-family: "courier new" , "courier" , monospace;"><br /></span>
<span style="font-family: "courier new" , "courier" , monospace;"><b>Man's Voice:</b>
</span><br />
<span style="font-family: "courier new" , "courier" , monospace;"><i>My mind drifted on the foaming waves, momentarily unshackled from time or space or logic until it washed over the sands and encountered consciousness. For an instant I saw her there. Somewhere in the shadows. The artist. In the misted distance of a glass.</i> </span><br />
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Athene Noctuahttp://www.blogger.com/profile/15138777467179453959noreply@blogger.com0tag:blogger.com,1999:blog-2808512155163057333.post-56425097550290488312017-05-18T02:06:00.001-07:002017-05-30T14:59:14.420-07:00OUR SHOWREEL + A PROPOSAL<div class="separator" style="clear: both; text-align: center;">
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<span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><i>Here, after eight years of collaborating together on music, films, art,
writing and the mad but brilliant life we live together with our little
boy Nico - my long-term fiance, sister-in-arms, soul mate and bestest
friend, the gorgeous Miss Sarahjane Swan and I have finally edited
together our first official ShowReel, culled from an array of
underground films and weirdo music videos which we've obsessively
created on pretty much zero budget from the heart of our metaphorical
garret. Today we offer this to you all for your viewing pleasure and
today we renew our vow to work tirelessly towards elevating ourselves
from our current state of comfortable Engagement (7 years and counting!)
to one of exciting and scary but beautiful marriage! Marry me soon,
Sarahjane Swan! This is my Official Proposal to You.</i></span></span><br />
<br />
<span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><i>Loving you both
Always & Forever (to Infinity and Beyond!) </i></span></span><br />
<span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><i>Roger Alexander Small
(aka Roger Simian)</i></span></span>Athene Noctuahttp://www.blogger.com/profile/15138777467179453959noreply@blogger.com0tag:blogger.com,1999:blog-2808512155163057333.post-90698829292491925022017-02-07T15:52:00.000-08:002017-02-08T01:54:21.292-08:00Dreaming In Analogue: Our Super 8 Adventures<style type="text/css">P { margin-bottom: 0cm; text-align: justify; }</style>
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<span style="font-size: x-small;">Stills from forthcoming Super 8 short, <i>MERZFRAU: Bloomed</i>, which will screen at the<br />MIMC installation as part of Alchemy Film and Moving Image Festival, Hawick, 2017</span></div>
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<b><span style="font-family: "trebuchet ms" , sans-serif;">THE ART OF ANALOGUE</span></b></div>
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<span style="font-family: "trebuchet ms" , sans-serif;">Analogue forms and
technologies are inherently suited to capturing ghost worlds: the
realms of the subconscious, dreams, nightmares, fantasy, other
planets, histories misted by memory.</span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;">Having spent years
creating moving images, stills, music and design using digital
technologies, editing in the “Soft World” of computers, laptops
and tablets, we became obsessed last year with immersing ourselves in
the “Hard World” of analogue creativity. We bought vintage Super
8 cameras, projectors and batches of long-expired filmstock; learned
how to home-process the cartridges using household products;
handcrafting film by directly scratching or painting the frames; then
projecting the results.
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<span style="font-family: "trebuchet ms" , sans-serif;"><br />Whereas digital forms
are inexpensive and promote limitless possibilities, Super 8 costs
upwards of £20 for a few minutes of film, which must then be
processed before it can be viewed in a projector. We've found that –
much like the Danish Dogme 95 rules - these limitations of the form
actually invigorate us, as filmmakers, releasing untapped creativity.</span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;"><br /><b>OUR FIRST SUPER 8</b> </span><br />
<span style="font-family: "trebuchet ms" , sans-serif;"><br />We made our first Super
8 short, SuperFly Super 8 Circa Nineteen Seventy Seven, using a Canon
514XL (circa 1977) and an AGFA Family camera (circa 1980) shooting a
cartridge of Kodak TRI-X 7266 B&W Reversal film at the standard
18 frames per second. We filmed mostly indoors with lots of summer
sunlight spraying into the room. We hired Gauge Film in the West
Midlands to process and create an HD digital scan of the cartridge
which we were then able to edit on our Mac using iMovie: imagining
what a trailer for a Film Noir might look like if it was directed by
the New York No Wavers.</span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;"><br />SuperFly Super 8 was
shortlisted for Edinburgh International Film Festival's Short Film
Challenge 2016, with a screening at Edinburgh Filmhouse in August,
followed by two at Edinburgh Digital Entertainment Festival. The film
has since had further screenings in Glasgow (FOMO 2 at Stereo Cafe
Bar), Edinburgh (Forest Cafe) and London (London Short Film Festival
at the Moth Club, Hackney).</span></div>
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<b><span style="font-family: "trebuchet ms" , sans-serif;">PROCESSING EXPIRED
FILMSTOCK IN CAFFENOL</span></b><span style="font-family: "trebuchet ms" , sans-serif;"> </span><br />
<span style="font-family: "trebuchet ms" , sans-serif;"><br />There is a lot of
long-expired Super 8 filmstock still available to buy on eBay,
especially the hugely popular Kodachrome 40. Kodachrome film is no
longer manufactured and has not been processed as a colour reversal
film since 2010, when the last of the chemicals required were used up
by Dwayne's Photo Lab in Kansas. We discovered that a few pioneering
DIY filmmakers - such as Ben Slotover from London's Zero Budget Film
School, Dagie Brundert in Berlin, Cherry Kino in Leeds and Troy's
Visual Arts in Australia – have been processing expired K40 as a
black & white negative at home using Caffenol: coffee, washing
soda & vitamin c. We decided to give this a go ourselves and
bought up a largish batch of Kodachrome 40 and all the kit and
ingredients required.</span><br />
<span style="font-family: "trebuchet ms" , sans-serif;"><br />This video shows us
making up a 2 litre bottle of Caffenol CM, twice what is required to
process a cartridge of Super 8.</span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;"><br />Using old stock &
Caffenol produces a monochrome negative with a golden tinge.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGJyWuqZXcWd7cTcMCeCNVRfgdoSN006E2yW0uUbpdCXamJVZP9tQ6jEoFP88IMqsmEqyAHU2bSVtnm9njLZ34BnCAt-atybXkrSoEtF2BC4-XZX09vyawHewjAHpkggHCq14rUC7gyds5/s1600/VACMA+stills+58.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGJyWuqZXcWd7cTcMCeCNVRfgdoSN006E2yW0uUbpdCXamJVZP9tQ6jEoFP88IMqsmEqyAHU2bSVtnm9njLZ34BnCAt-atybXkrSoEtF2BC4-XZX09vyawHewjAHpkggHCq14rUC7gyds5/s400/VACMA+stills+58.jpg" width="400" /></a><span style="font-family: "trebuchet ms" , sans-serif;"> </span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;">Once the footage has
been turned into a positive in your computer you're generally left
with a fairly lo-fi & grainy image with a blue tinge and a white
frame.</span></div>
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<div class="western" style="margin-bottom: 0cm; text-align: left;">
<b><span style="font-family: "trebuchet ms" , sans-serif;">HANDCRAFTING SUPER 8</span></b><span style="font-family: "trebuchet ms" , sans-serif;"> </span><br />
<span style="font-family: "trebuchet ms" , sans-serif;"><br />If you're not 100%
happy with the results of your Caffenol experiments with expired
Super 8 you can still create very interesting results by scratching,
painting and manipulating the film directly by hand. Because each
frame is only 8mm high the process of projecting these onto a large
screen makes each tiny fibre, scratch or marking much larger and
wider with interesting results. Messing about with contrast, exposure
& other levels in your editing software can produce an array of vibrant
colours.</span>
</div>
<br />
<br />
<iframe allowfullscreen="" frameborder="0" height="360" mozallowfullscreen="" src="https://player.vimeo.com/video/202346982" webkitallowfullscreen="" width="640"></iframe>
<a href="https://vimeo.com/202346982">Handcrafted Super 8 Experiment (Caffenol-processed K40 & TRI-X, scratched & hand-coloured).</a> from <a href="https://vimeo.com/thebirdandthemonkey">The Bird And The Monkey</a> on <a href="https://vimeo.com/">Vimeo</a>.<br />
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Athene Noctuahttp://www.blogger.com/profile/15138777467179453959noreply@blogger.com0tag:blogger.com,1999:blog-2808512155163057333.post-45293457959562076442017-02-07T15:48:00.002-08:002017-02-07T15:48:40.304-08:00MERZFRAU: Bloomed Stills<div style="text-align: center;">
<b><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-family: "trebuchet ms" , sans-serif;">STILLS FROM OUR FORTHCOMING SUPER 8 SHORT, <br />MERZFRA<span style="font-family: "trebuchet ms" , sans-serif;">U: BLOOMED - A PORTRAIT OF THE MUSE, ANNA BLUME</span></span></span></b></div>
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<br />Athene Noctuahttp://www.blogger.com/profile/15138777467179453959noreply@blogger.com0