Thursday, 14 April 2011
I ordered the films so that 'Drive' was first, finishing with 'Cana', this was a very conscious decision as I felt that within that order it held two aspects of Art I find continually compelling. Firstly starting with the mundane, within 'Drive's' opening scene of being a baron highway stretching on for what seems like forever, slowly building to the abstract and pulsating climax. From this second half of 'Drive' it leads into 'Cana's' atmospheric cloud of sound and visual. I always knew that 'Cana' would be the more appealing of the two as it's much more open to interpretation and has much more of a nostalgic vibe. 'Drive' always felt like an opener to 'Cana' which is interesting as I produced 'Cana' first with 'Drive' being the last film within the series. The feedback was that people enjoyed the experience but preferred 'Cana' as it was much softer but kept with on their toes with the audio and the visuals. 'Drive'is much more of an endurance by comparison but is needed to give 'Cana' context. "It was as if you'd closed your eyes and the changing colours were from light falling on your eyelids" -Louise Hastings has summed up something that I have been trying to do for sometime and I'm very happy that this was picked up on and was something that someone saw. The most uncomfortable aspect of the night was that I had to start and end the films, it was something that had to be done to best facilitate the films. The single most uncomfortable aspect was when the films would end, people felt compelled to clap as I was in the room, If I could have changed anything about the night it would have been to rig it so that I didn't have to be there.
I had been watching a lot of Flux films when I was editing 'Cana' and 'Drive' together and I was always fond of the way they began, acting as an interesting uniform for them all. The style was something I was fond of too, the flickering and flashing introductions of titles and artists etc... I applied a similar introduction to both the films having a countdown before each new film started. I wanted to give the audience a chance to take a moment between films, due to the nature of them I felt that running them one after another might have been too much and would have left them overwhelmed. The countdown was 30 seconds long, this was something I felt was as suitable time between films as it would give an appropriate comedown from the first, and a build up to the second.
The title of the collective films came about when I was reading 'Utopia Limited' by Marianne DeKoven. She was de constructing the sixties by breaking down some of the most prominent literature such as 'Fear and Loathing in Las Vegas' by Hunter S. Thompson. In a section she breaks down Thompson's metaphor and use of the title 'The Great White' for his convertible whilst driving down the highway to Las Vegas where Thompson depicts the death of the sixties whilst referencing Herman Melville's 'Moby Dick'. I felt this appropriation of 'The Great White' was a fitting one as the films are road movies essentially but also contain my own mixed feelings of America and my place within it.
Monday, 11 April 2011
Monday, 14 March 2011
These two types of film are very different from one another and both hold qualities that I'm very interested in. When I first made the first Cana film I was encouraged to continue to make films from the raw footage. By doing this I explored new ideas, learnt new techniques and started understanding the work in a more thought out and personal way. By the same token I realised that by talking to people about the work and showing them these shorts that they were obviously having different insights and reactions to the work, which in term informed my work more.
Friday, 18 February 2011
Canaball is the second film I made, I initially wanted to make a series of short 45 second loops and this was the first realisation of that idea. It came after Cana which was atmospheric so it gave me a different set of ideas and techniques to play around with.