Christina Beck (Writer, Actress, Producer & Director) – Interview

perfection21

‘Perfection’ has been quite a journey a 2 1/2 year one, to be exact.  How did it come together?

It’s actually a longer journey than that but it did take us 2 1/2 to finish principal photography. After the script was nominated for Best Screenplay by The IFP Independent Film Projects in New York which is a wonderful resource for first time directors, my producer Annette Murphy and I had several meetings with production companies that all liked the project but no one was willing to actually show us the money so we decided to just start shooting with whatever resources we had on the weekends. We were very lucky to put together an amazing and talented cast and crew who all showed up for the love of this project, we were very rich in that way. The IFP came on board again as we were involved in their rough cut labs and I was awarded The Adrienne Shelly female directing grant which helped finish our principle photography.

What responses have you had from self-injury groups, and people who have had extensive cosmetic surgery)?

Early on at one of our fundraiser’s in Los Angeles, Dr. Tonja Krautter a therapist who specializes with self harm and recovery from other self destructive disorders was very kind to come and speak about the behavior. She donated her time, resources and even wrote us a check at one point and finally when the film was finished and we screened at The San Francisco International Women’s film festival Tonja came along with  four of her collages and not only did they enjoy the film, they felt like it touched on many complicated issues that can only be beneficial for all audiences to see.

I didn’t find the self harming scenes particularly graphic.  Was that intentional?

That’s interesting? a lot of people have been very uncomfortable with the one scene where Kristabelle is cutting on camera and of course it is fake.  I was not interested in glamorizing or minimizing the behavior, I wanted to be truthful and after that one scene people get the point, if they want more than maybe it’s a slasher movie they rather be watching? That’s not what this is.

When I  saw the mirror scene the first thing that came to mind was ‘Georges Franju’s ‘Eyes Without a Face’   I’ve never seen the full film, 14_bbut I’ve seen clips.  Yet the mirror imagery conjured up that film.  The main character Christiane is horribly disfigured in a car accident, and she has to wear a mask to cover up her disfigurement while her father who is a doctor tries to restore her features, by grafting the skin of young beautiful women onto his daughter’s face, only for the new tissue to be rejected, and she has to keep wearing this mask. In Perfection Kristabelle’s face in that moment seems disembodied, a face transplanted and grafted onto a mirror whilst walking across the room. Have you seen the film? It has it’s own themes of youth, beauty and perfection.

No, I have not seen the film but it sounds interesting.

Did the film give you chance to portray a different side of Los Angeles, one that is rarely seen in cinema?

(for example a change from the film noir/transient/waitress/actress waiting to be discovered)

As I am from Los Angeles I often think about how many people come to LA to create their “idea” of who they want to be. It has that freedom in a strange way but for me, it is a place of many mixed memories and I guess that’s the beauty of filmmaking in that this is one of my perceptions that I got to capture for a moment, well, 85 mins.

The interior shots appear quite claustrophobic, it really highlights their living space and the tightly bound relationship of Sally and Kristabelle.

Absolutely! I tend to do this with my writing, I put characters on top of each other and make them fight for their space.

The Mother Sally  (played by Robyn Peterson) has a certain ‘faded old Hollywood glamour’  Is she based on anyone you’ve encountered whilst living, and working in Los Angeles or even in New York?

Besides my own mother, yes! They are everywhere with amazing stories and sadly dying off too soon.

Why did you make the Simon character (played by British Actor David Melville) a British Stand up comedian? p10205821

I based Simon on a wonderful British man living in Los Angeles who is one of the funniest people I know. Also, it just really worked in terms of who could realistically “get” Kristabelle? He would have to have his own demons but a silly sweetness for her to feel safe.

The Damned feature in the soundtrack.  Were they a big musical influence whilst growing up?

When I was a teenager I was in Love with Dave Vanian, the lead singer and really just loved their music so much that when it became time to figure out what Kristabelle liked it was a no brainer. Captain Sensible, the guitar player of The Damned came to our screening in Los Angeles, they happened to be on tour and he showed up at The Egyptian Theatre to come see the film. 2011   It was such an honor to meet him, the sweetest man and we took tons of pictures with him, such a good sport!

Apart from money.  When making their first feature. What are the most important things that a Director needs?

A story they feel passionate enough about that they will do anything to see it realized even if it takes 5 to 10 years! I was very lucky in that I was gifted with so much starting with my cast, crew and everyone person I came in contact with felt my passion and honestly wanted to see me archive this goal. People really do want to be a part of something that is creative and we had a lot of fun in the process. Post was another story, not as fun but again, people came out of the woodwork to help and I was incredibly fortunate.

You said in the question and answer session that you’re not a feminist as you don’t like labels, but you have many feminist beliefs.  Do you find that distributors, and programmers have their own ideas of how to market your film, and target a demographic of who should see it.  That has to be a hindrance in terms of finding a wider audience.

I honestly do not know how distributors and programmers see Perfection? The festivals we were accepted in only expressed their interest by accepting the film or not. In Mississippi where we won Best Narrative feature, the jury wrote a beautiful statement about my vision and talents of the entire production which of course felt great and with our distribution that is yet to be seen. I think finding an audience is not necessarily the problem, we have had nothing but positive feedback everywhere we have screened it’s a lot of other factors, especially in the states as “independent” films are not what they used to be and it’s all about being the flavor of the month/festival year. That is not our story but after accepting a lot of rejection I am happy to say that i made the film I wanted to make and very grateful to everyone involved.

What’s next for Perfection in terms of screenings, and release dates?

As I mentioned, we do not have distribution yet but will be having another screening in London on the 25th of February at The Sanctum Soho Hotel.

And Algerian Tap dancing muggers???

Yes, I am writing to you now from Paris where my next project, Expecting Grace is set. It is a dark romantic comedy in development.

Perfection movie trailer

http://vimeo.com/9813971#

Notes from a Question & Answer Session – Rio Cinema, London.

Christina remarked that the film timeframe of the 1990s was important due to it being pre internet that’s why Kristabelle is not part of an online community where she meets other sufferers.  She is adrift apart from one other sufferer she meets in rehab.

People don’t talk about self harmers – 9 times it is childhood abuse, and 10 times sexual abuse.

‘Perfection was made as independently as you see.  Continuity was a challenge, she lost some of her crew and everyone worked for free.

On making the film ‘I came too far to go back’

Christina doesn’t label herself a feminist as she doesn’t label herself anything but has many feminist beliefs.

‘Perfection’ is still looking for a distribution and video on demand deal.

Don’t let money stop you doing what you want to do.

images (5)

Perfection – Film Review

Perfection.6.25website.poster

Although it’s not remarkable to see someone walking onscreen, ‘Perfection’ is set in Los Angeles, a city of cars and freeways. Yet this LA appears more intimate and unthreatening the sunlight and its exteriors appear filtered as if filmed through a gauzy haze as Kristabelle (Christina Beck) walks, navigating her way around the neighbourhood a striking figure with pronounced blonde bangs, clad in large sweaters, and black brogues.

A home life shared with her glamorous Mother Sally (Robyn Peterson) images (1)their environment is defined by their addictions, Kristabelle with freshly, bloodied scars on her upper thighs, self harms her way to feeling alive whilst Sally addicted to plastic surgery tries to maintain a younger, Hollywood aesthetic. At times each thrive on past nostalgia connected with their old lives and younger selves that relies on a currency, an emphasis associated with youth and desire “Oh Tony looked so handsome then’ remarks Sally whilst watching old westerns starring her husband and Kristabelle’s punk rock adolescence remembered through the eyes of a younger man, the brother of an old images (2)childhood friend.  The original posters of ‘The Damned’ ageless images are still tacked on her bedroom wall.

Director/Writer: Christina Beck  images

Producers: Tatiana Kelly, Annette Murphy

Co Producers: Beth Dewey, Robert Poswall

Director of Photography: Robert Poswall

Editor: Katy Skjering

Composer: Marika Tjelios

Cast: Christina Beck, Robyn Peterson, David Melville, Jeff Kober, Jackson Davis and Jamela Biggs.

Best Narrative Feature – Oxford Film Festival, Mississipi, USA

Best Actor – Christina Beck

Information about the film can be found here

http://perfectionthemovie.wordpress.com/who-we-are/

Slice – the short film version of the feature ‘Perfection’  can be viewed on youtube:

http://www.youtube.com/watch?v=rBM7j0nqfco&list=FLIZeOxashTb1FNCkA8aEfQA&feature=player_detailpage

Gold – Divine Chocolate Film Script with Minimal dialogue

Hi Jen,

Hope all is well with you. We decided to go with another proposal which would probably be more suited to a viral campaign we are trying to achieve.

However Charlotte and I, as well of Birds Eye View creative team were really impressed with the idea and with the narrative of Gold.

Hence we thought we would like to support you by offering you £500 towards a film course, if you take Gold as piece you want to develop in this context

Let us know your thoughts

Best wishes,

Tal Drori

Marketing Manager

Divine Chocolate Limited

The following script was entered into the Divine Chocolate Film Competition, which was to write a proposal capturing the essence of ‘Divine Chocolate’

I was one of the shortlisted winners and had to write a 2 min script.  The winner would have their film produced and uploaded as part of a Youtube Viral campaign. Although I didn’t win I was offered a prize to develop and make the film.  Since the competition the script has changed and I’m still working on changes up until I make the film.

When I came up with the character of May I pictured a girl with a look of a young, Tavi Gevinson.  She would be dressed like an older woman, a memsahib lounging on an allotment watching the people toiling away in the heat whilst she observes all around her exuding a slightly aloof, yet sophisticated air.

As I wrote the script May became more vivid as I pictured her among the green plants, and earth browns of a community allotment.

Image

GOLD

By
Jennifer Farfort

EXT. A COMMUNITY ALLOTMENT – EARLY AFTERNOON

FADE IN

(offscreen) we hear the sound of shovels digging deep into soil.

IN FRAME
May, an eight year old girl, is sitting on a deckchair. She wears a wide brim hat, big dark sunglasses, and is dressed like a sophisticated lady, with her cardigan draped around her shoulders.

(offscreen) we hear the sound of a kettle that is just coming to the boil, and the stirring of teacups.

Cut to
Backs of people bent over shovels tending to their plots.

Cut to
Allotment plots adorned with windmills, plastic bottles, gnomes,and strange looking scarecows. Shiny cds are tied, and stringed together on various plots. They flap gently in the breeze.

As May adjusts her sunglasses putting them atop her head her cardigan slips off, onto the ground.  Annoyed she quickly picks it up dusting it down, and puts it on properly. Hungry she unwraps her Divine Chocolate bar carefully. She breaks off some chunks hovering it near her mouth then slowly devours them. May looks inside her cardigan pocket staring intently at the contents that we cannot see, whilst nibbling at a bit of chocolate.  Transfixed, she gently pokes at the unseen contents.

Cut to

A bird scarer makes a whizzing motion. Its sound appears deafening.

May eyes it suspciously.  She watches its wooden feet pedalling switching from slow to fast, as the breeze catches it.She returns to her chocolate studying the Adinkra symbol designs Imageof the wrapper and starts to draw a symbol in her notebook. She makes elaborate patterned swirls that fill the page.

She takes in the sights and sounds around her.

Cut to

A block of flats is visible just beyond the end of the allotment.


A flurry of cabbage white butterflies circle playfully around each other.

MAY

(voiceover and subtitles)

A Daisy..A Daisychain of butterflies.

Two women stop to take a break. Their shovels are upended in the soil whilst they talk.  May watches them making up a conversation between them in her head

MAY

(voiceover and subtitles)

Would you like some chocolate/

May breaks off another piece of chocolate

it’s Divine

and eats it

/ooh…it is/oooh yummy/can I have another piece/

NO.  GREEDY GUTS!

Cut to

May’s parents who are watering their plot. She shares some chocolate with them.She looks over to her smaller plot beside theirs.

Cut to

A banner that says:

‘May’s Divine Chocolate Plot Garden’

It is decorated with Divine chocolate foil and wrappers.

She picks up a watering can.

(Offscreen) we hear the sound of a watering can being filled

Cut to

May pouring water over her plot making sure that everywhere is coated.

Taking off her shoes she watches her parents who are talking, with their neighbouring allotment growers. She tentatively steps on the soil walking over it she takes the stick and carefully divides it like big chocolate squares.

Taking off her hat, and placing her sunglasses on her head she kneels down on the sodden soil, cupping her hands she whispers quietly into the earth.

MAY

(subtitled)

Chocolate cake, Hot chocolate, ice cream, chocolate chip pudding…with chocolate sauce…milk choc-o-late

Standing up she reaches into her cardigan pocket and unwraps a chocolate coin, she eats it then attaches the gold wrapper to the flag. May makes a small well in the centre with a tiny shovel. Taking more coins out of her pocket, she looks around, and drops some of her chocolate gold coins (jangling sound) in the small well and covers it up.

She carves an Adrinka symbol in the wet soil.

Subtitles will say

“Greatness’

A rumble ripples under her feet losing her balance May falls onto the ground.

Cut to

May lying on ground next to her head she is surrounded by chocolate gold coins and bars of Divine Chocolate.Image

She scoops up her treasure filling her pockets.

(offscreen)

The sounds of the allotment come into view

May watches the legs of the bird scarer mobile move ever so slightly.

She sits down takes out her notebook and starts to write.

Protected: Filament – Flash Film Bridport Competition Entry

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Southend on Sea Picture Postcard

Dear….

We went to Southend, and made castles out of sand and seashells. I bought you a stick of your favourite stripy rock. We took a ride on the big wheel I’m not afraid of heights, but it’s scarier than you think as it was suspended for a while, and I found it hard to open my eyes.

I played bingo, but I didn’t win anything although I did win a prize on one of those crane machines and that was on the first try.

See you soon

Cagefighting – 100 word screenplay

In front of a bus shelter seagulls peck at some food.

A young Asian lad throws a chip at them.

He looks at an older white man.

LAD: I cage fight.

The older man nods politely.

LAD: I can do two fights in a night. Easily.

He stops to eat a chip.

LAD: You thought about it.

MAN: What.

LAD: Cagefighting.

The man smiles shyly shaking his head.

LAD: Could teach ya

The man looks at his watch.

LAD: (staring at him) I …I could ya know

The man signals for the bus

MAN: No it’s ok.

He sits at the front.  The younger man sits behind him.

Dreams and Nightmares with Dominic Currie (Filmmaker)

FROM:

Dom Currie

TO:

jenheloise@yahoo.co.uk

Message flagged

Sunday, 20 November 2011, 16:24

Hi,
Yeah, 20th is good. No, I didn't get round to doing 2 Days Later 
this year but a London company called Whirlygig Cinema screened 
The Ukulele Killer at a chapel in Bethnal Green.  That was fun.
Sounds crazy but can you give me a Title, Genre and Random Word?

I'll try and make a short film by the 20th.

Thanks.

Dom

Jennifer Farfort

TO:

Dom Currie

Message flagged

Sunday, 20 November 2011, 16:37

It doesn't sound crazy at all. I'll call it The third eye (as I 
had a dream about a band called The Third eye.  I blame Lunachicks 
music videos (see YouTube) genre: absurdist drama, and the random
word: face.

Jennifer

Hi Jennifer,

Here's your film.



I suppose it's more  'experimental surreal horror' than 
absurdist drama.

Anyway, it was good fun to make. Don't have nightmares.
speak soon,
Dom

It was the hat. Cardboard…..I thought you were joking when you said you had made it out of cardboard.  I saw it as an homage to W.C. Fields, but found out later it wasn’t. You requested three words. A title: The Third Eye.  Genre: Absurdist drama.  Random word: Face.   Your response was Beckettian.

Oh.. yuck…no..no …It’s not a word that can be passed off as an adjective.

…Let’s start again..Your response was something along the lines of Samuel Beckett, but you didn’t claim to be an expert. 

Dominic: I don’t claim to be expert on Samuel Beckett, but I know he did a play called Krapp’s last Tape,’ which is a one-man show and there’s one of me, so I thought that’s convenient.  I found out that he made a film in 1965 called ‘Film’ starring Buster Keaton.  So the projectionist is just a slight nod to the play, and the hat is made in reference to Buster Keaton.

‘The Third Eye’  What was it?  What is it? 

Dominic: My Dad, a scientist told me that people in the 60s who had dropped a little too much acid would drill holes in their head in search of this concept of the third eye to awaken some dormant part of their brain seeking out intelligence.

I pictured ageing, slightly overweight, Grateful Dead fans with their tie-dye t-shirts straining against their girth going about their everyday lives, with a tiny hole still visible in their forehead. 

ARE YOUR DREAMS AND NIGHTMARES SEPARATE FROM YOUR FILMS, OR ARE THEY INTERCONNECTED?

For a moment, you appeared bewildered.  I repeated the question, but worded it a little differently: 

Jennifer: Where does the dream/film/nightmare begin?

Dominic: The truth is I don’t use the terms dreams and nightmares to describe my films-they’re just me.  Anything that seems unconventional in terms of a modern Hollywood story narrative to some people might seem dreamlike or nightmarish but it’s just me playing around with film.  Obviously, with ‘The Third Eye,’ I was aware I was creating something that was weird, but it wasn’t based on a particular dream.  The older I get the less dreams I have.  Most of them are incredibly corny and Freudian. It doesn’t matter where I am, whether it’s school, back at my old house, at some point in the dream I will look down and realise I’m not wearing any trousers. It’s a classic anxiety dream.

Jennifer: You described ‘The Third Eye’ as Experimental Surreal Horror. It sounds like a mash-up of genres.

Dominic: To be honest I only described it as that because it wasn’t absurdist drama.  I used the genre as a fuel for the ideas in the film. I was doing something I had never really done before, and it was Horror because it has a scene where a man drilled a hole in his own head.  It wasn’t so much genres, I was just describing how I saw the film.

Genres…Genres, categorize, labels, (it’s all film to me)  boxes……..Trapped

DO YOU THINK GENRES ARE NECESSARY?  COULD YOU COME UP WITH A DIFFERENT GENRE?

Dominic: Here’s a genre for you.  I’m thinking Japanese Anime mixed with a Spicy Mexican feel – Chimmy Changa Manga  

or I’m thinking Dada  

and film Noir   and that would be Film Noir-Da.  You could go on and on.

Jennifer: What would you like to see?

Dominic: Camp Australian film with songs that is shot in black and white but with very theatrical scenery that would be Luhrmann Expressionism.

Jennifer: You’ve really thought about his haven’t you.

Luhrmann..Luhrmann.  Did he mean German instead of Luhrmann?

Dom Currie

TO:

Jennifer Farfort

Wednesday, 28 December 2011, 18:10

Hi Jennifer,

Here are two crazy dream images. The Freudian Nightmare is just
a joke. I've never actually had a dream where I've been chased 
by giant carrots.

The war dream is an actual memory. I had Third World War dreams 
quite a lot as a child. Being brought up in a left-wing household 
with older sisters who were members of CND made me all to aware of 
nuclear war.

When I was eight or nine I wrote letters to Ronald Reagan and Leonid
Brezhnev asking them to make friends. I don't think I sent one to 
Thatcher. I must have assumed she was too cold-hearted to reason 
with. I like to think I had a hand in ending the Cold War and 
helping to keep the peace.

Happy New Year!

Dom

Dominic: Dream sequences are inherently fake, a pseudo concept.

Catching yourself, you stopped suddenly.

Dominic: Sorry that’s pretentious but the whole concept of a dream in cinema is a fake concept.  Dreams are nothing like they are in cinema.  Most people, when they tell you their dreams are already misinterpreting them and trying to make sense of them and put them in a particular order.  I remember thinking once that a lot of my dreams happened from above

I made a mental note that a dream sequence with more camera angles would be much more realistic.

 I still pursued dreams: 

Jennifer: Have you seen Salvador Dalí’s dream sequence in ‘Spellbound’?

Dominic: When you’re talking about dreams and nightmares in film, I can’t relate to my own dreams and nightmares, but I really like Bunuel and those kinds of movies.  He claimed those films were based on his dreams.  I’m not sure I totally believe him because they make a little too much sense.

WHILST MAKING ‘MACHINE TIME’ COULD YOU SWITCH OFF OR WAS IT ALWAYS IN YOUR SUBCONSCIOUS?

Dominic: I’m not sure about the subconscious bit, but for most films I make I just start and keep going and don’t stop.  ‘Machine Time’ and ‘The Third Eye’ were similar in as much as the whole process was simply to respond to the words.  In ‘Machine Time’s’ case it was a story.  I tried to respond to the ideas and not to second guess them or over think them or to judge one idea and say that’s not good but that one is.  You just come up with everything, and you throw them all at the screen and afterwards work out what sticks.

Jennifer: I like the way you don’t over think.  Do you think people analyze too much?

Dominic: That could be true but also people will just say look at my films and say what a pretentious load of old wank.

WHAT RESPONSE DO YOU GET WITH YOUR FILMS?

Dominic: Good and bad.  My YouTube channel is a mixture of really odd things like recreational videos for friends, and family and then I started doing fringe theatre, and for some reason, it was a lot of American theatre by writers like David Mamet and John Patrick Shanley.  People kept thinking I was trying to do an impression of Robert De Niro.   I wasn’t.  I was just trying to do an Italian American accent.  So I thought as a joke and I think it was the same time I was at Channel Four, I thought I’d do an impression of De Niro and stick it on YouTube and see if I could create something viral.  That was the idea initially.  It didn’t work but the people who liked them just said, try De Niro does this and so on, but the one that eventually became viral was a De Niro Star Wars one which is awful, and I desperately want to take it off because it’s utter crap.

Jennifer: Is that Jar Jar Binks?

Dominic: No it’s another one.  De Niro does Darth Vader, but it has suddenly gone to 90,000 hits, and I can’t bring myself to take it down.  I get endless abuse from 14-year-old Americans saying (bratty, American accent) “You’re shit man.  You sound more like Harvey Keitel than Robert De Niro”

HOW DID YOU GO ABOUT MAKING ‘MACHINE TIME’?

Dominic: With ‘Machine Time” and it’s a bit rude to say this but Mark Ravenhill had written the story that wasn’t entirely cinematic, but that was actually quite clever because it meant people had to think it through, and really had to come up with good ideas and some people I think made the mistake of simply reading out the story and trying to put images to it, and I just thought it doesn’t really work like that.  I thought what was needed was something else with a narrative, and I stumbled across the idea of doing a bit from HG Wells ‘The Time Machine’ and I made that the narrative thrust of the movie and I just put in little bits of Mark Ravenhill’s story along the way.  I think that’s why the movie worked.

Jennifer: It does work. I think it’s brilliant. I love it.

You thanked me.  I was surprised by your modesty.  Didn’t’ you expect me to say that.


Jennifer: As part of winning the Ravenhill Guardian Film competition you were mentored by Channel 4.

Dominic: Yeah. Whatever that means. I think I had about five meetings over four months and learned absolutely nothing.   It was hugely
disappointing. Believe it or not, I was actually told by Channel 4 that winning the  competition WAS the prize. Second prize was a  Macbook Pro.   I could have done with one of those.
Trust me to win a competition where second prize was ‘something’ and first prize was ‘nothing’. Mark Ravenhill has a genuinely creative aura about him, whereas most Channel 4 execs seemed dead behind the eyes.

DO YOUR IDEAS COME FROM DREAMS, MUSIC, BOOKS, ART OR EVERYDAY LIFE?

Unexpectedly, you laughed: 

Dominic: That’s basically a variation of the question where do your ideas come from.

Yes.  Yes, it is..and

Dominic: Everybody just absorbs information, whether it’s books or theatre and then when you’re working on a particular project those ideas start to brew and usually a combination of ideas comes out, a bit of theatre, and a bit of book you’ve read with bits of diced carrot mixed up in it.

Music…..music videos (promos)

Jennifer: When I watched the music promo ‘Animal,’ I kept seeing vivisection, even though it wasn’t implied, and the idea of thought control.  What did you have in mind when you made it?

Dominic: I can’t remember.  That video wasn’t a professional music promotion. It was just a guy who said I’ve written a song and can you put a video to it. There was no money involved and lyrically there was nothing in the song.  If you listen to the song. It’s about nothing, so I’m left thinking all I can go on is the emotion…

Jennifer: Why monkeys

Dominic:  Oh I just like monkeys. I also made that mask.  I think I have always been a fan of the actors who played the apes in 2001 A Space Odyssey, which is why I put in a little joke at the end where he throws a drumstick up in the air.

Oh.  In jokes. In on the joke, joke

Dominic: I put loads of those in my films

Jennifer: Nobody gets them.  Do they? Weren’t there in-jokes in ‘Jack T’

Dominic: The actual reference in my film ‘Jack T’ was the Brian De Palma film,  ‘Blow Out’,  I read somewhere that John Travolta, up to a certain point, would only play characters in films whose initials were  JT.

Jennifer: That might be a Scientology thing.

Dominic:  Possibly.  He is bonkers. One of my obsessions is sound.  I like playing around with sound so the idea of a guy recording sound…And there’s a line at the end of the film when Travolta ends up using the actual sound of a murdered woman in a low-budget cheap horror film, we stole that line and stuck it at the end of ‘Jack T’, when the young boy gets smashed over the head with a hammer.  The character at the end says “That’s a great scream.”  I didn’t expect people to get it. I can’t remember the question.

Monkeys

Jennifer: Why monkeys

Dominic: I like monkeys

Jennifer:  Did your friend give you a brief?

Dominic: No I couldn’t work to a brief.

Jennifer:  You don’t strike me as the sort of person that could work to a brief.

Dominic:  Ha ha. If someone gave me, a brief and said I want the video to be,.…Particularly, if it was a musician I’d think ‘what the fuck do you know about it.?’

Jennifer:  You said you compose.

Dominic:  Jack of all trades and master of none.  Piano and drums. I’m not a classically trained pianist or a jazz drummer.  I came from a theatre background and did acting.  I used to write music for the theatre.  I have always been fascinated by computer music but I’m not a huge fan of dance music. I don’t have the same kind of response to music videos as some people do.

Jennifer:  That’s quite good isn’t it.  You would look at it with fresh eyes or slightly cynical ones.

Dominic: Yeah everything with slightly cynical…  I think you’re far more interested in contemporary music than I am.

Well..classic punk…some classic rock..

DID YOU WATCH ANY MUSIC VIDEOS BY ‘THE LUNACHICKS?’

That’s what sparked a dream about a band called ‘The Third Eye’ that looked quite psychedelic.  It was like a glorious Technicolor alternative.

Dominic: I don’t listen to a lot of pop music, so I don’t watch a load of pop videos.  I’m more of a Jazz person but I know from experience of making pop videos for people who if the lyrics to the song aren’t particularly interesting, then you just tend to work on images, and you tend to work on emotions and I think inherently that’s dreamlike.

Jennifer:  What did you think of The Lunachicks videos?

Dominic: I saw one that was really fast cut, and it had a bit of the old fish-eye lens going on, and it looked like it was shot on old style vhs video.

Jennifer: They are……

were…were

Jennifer:  are like an old school diy punk band

Dominic: Maybe I should listen to it a bit more.  I did genuinely…..honestly.

……….. …

Rifling through A4 paper, I glanced at typed questions, notes to self circled and highlighted close to hand.  Meditation…Transcendental meditation… David Lynch 

HAVE YOU EVER PRACTICED  TRANSCENDENTAL MEDITATION?  DAVID LYNCH IS A STRONG ADVOCATE, BUT SAYS HE NEVER MAKES HIS DREAMS INTO FILMS.   THEY’RE COMPLETELY SEPARATE BUT SAID IT HELPS WITH CERTAIN PROJECTS. HAVE YOU EVER TRIED……

You looked at me strangely, and before I finished the sentence I started to laugh

Jennifer: (laughing) meditation?

Dominic: (laughs) No of course I haven’t you fucking nutter. When I made ‘The Third Eye’ I looked up the third eye and found out about Taoist Religious Philosophy, and the idea is that you have to meditate and control your breathing and it’s completely obsessed by the process and the process does take (as it says in the little monologue) 10-15 years before you eventually open up your third eye, but the thing is it doesn’t give you any indication of what you’re able to do once the third eye is open.  If I had meditated for 10-15 years I’d want to be able to fly by the end of it.

Flying….Yogic flying….  No.

Dominic Currie Films @

http://www.youtube.com/user/domcurrie