![]() ![]() TH: I moved to New York after college in ’85 and lived there for 15 years. How much of this scene did you experience firsthand? H: This is just as much a movie about a cultural scene as it is about one band. Criteria would come and go, but really it was the music, this non-intellectual, nonverbal expression, leading the creative process. When we were dealing with Jack Smith and the Ludlow Street apartment, and all the people who were there, we were drawing from the films and images that he produced. He knew what he was playing with, but at a certain point it was going to be more effective to let the sheer visceral quality of these many stylistic voices lead us.įor instance, when we were talking to La Monte Young about the evolution of experimental sound, we were looking for very specific kinds of images, ones that would help give voice to that endeavor. He was drawing intuitively from the bank of images, which we organized into various formal categories, topical categories, visual categories. Adam Kurnitz, the other editor, started work on the first cut while Fonzie and I were still working on my previous feature, Dark Waters. Once we put together all the materials that had historical reasons for being there, we could forget about that. ![]() TH: It was such a wonderful place to be, where the research and the history yielded to instinct. H: This multichannel panoply you create out of these materials, how do you craft and balance the arrangement? Is it more instinctual or intellectual? I have such gratitude for everybody who worked so hard to make that possible. The section with the grid that fills the frame with 12 images … even that is annotated. It took a lot of time and clerical work to organize it. It was something I wanted to include I just felt it was so important. There’s an option to toggle it on or off at will. Every single film that appears - and there are hundreds of titles - are named, dated, and attributed to their artists. So we put in everything we could get.Īnd then we did these annotations. But licensing these films, which are in different archives with different controlling rights and issues, and mastering them and all of that, it just took too long. And of course I wished that we could have like 10, 12 avant-garde films in their entirety. Fonzie, one of my two editors, was available to do the additional interview clips that are such a great part of it. We just wrapped shooting and had to jump on an accelerated schedule to get it out before the holiday. I was moving into pre-production on the film. Hyperallergic: When did talk start about adding the film to the Criterion Collection? ![]()
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