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(Air-raid siren wails)
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TONI MORRISON: "..we may be, indeed..."
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NINA KELLGREN:
I always find this first voiceover,
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the Toni Morrison one, so powerful, so moving.
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- Yeah.
- How did that happen?
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ISAAC JULIEN:
Toni Morrison's voiceover happened
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because I went to James Baldwin's funeral,
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so that's why we have that
in the beginning of the film.
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In a sense, it was one of the main reasons
for making the piece of work.
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And just before that, there was that train
on the bridge, that we reproduce tater.
11
00:01:07,141 --> 00:01:11,066
Yes, the train on the bridge
is meant to be a metaphor for the blues,
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because when African-Americans first started
to emigrate from the South to the North,
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quite a lot of the men used to use the train,
14
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and the train became a son of symbol
in the blues for...
15
00:01:24,941 --> 00:01:28,070
being able to actually move from the South
to the North,
16
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to an area of liberation, so to speak.
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It symbolises that voyage.
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Do you want to say anything
about you in the box? (Laughs)
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That was meant to be two things: It was meant
to be a pun, in the Barthesian sense,
20
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in terms of the death of the author.
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The other was obviously a relationship being
made between the question of mourning -
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and, really, at that particular time,
I did attend just so many funerals,
23
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so many friends of mine were dying
24
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that one was intrigued about
what one would look like in a coffin,
25
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because it would be the kind of image
you would never get to see yourself, of course.
26
00:02:02,781 --> 00:02:05,864
And so there was that son of idea, if you like.
27
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This is into our crane shot,
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our vertical transition between two spaces,
29
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which in your original script
you had as a lateral,
30
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going between two rooms.
31
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But then we found this location
32
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and t got the grip into see if it would take
the weight of the crane on the interior.
33
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We found a place where we could do this
vertically, which was much better, wasn't it?
34
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Yes. That was one of the things that's very
exciting about the role of locations in the film,
35
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and this location being really centrally important
to the whole look of the film.
36
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Yeah, very important location.
37
00:02:46,541 --> 00:02:51,149
Isaac and I, and Derek Brown, the production
designer, looked at quite a few locations
38
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before we settled on this one.
39
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It gave us so much gorgeous potential
for black-and-white lighting.
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It's a very architectural space,
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full of iron balustrades, railings, columns.
42
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t think both Derek and t thought
it was a fantastic space
43
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to work with Isaac's idea, with the script,
44
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and with the images that were being seen -
black-and-white photographs.
45
00:03:11,381 --> 00:03:13,383
ANNOUNCER:
In Memoriam - Langston Hughes.
46
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A blending of memories, tributes
and his own words.
47
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(Moving train)
48
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♪ Blues
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"Sun's a-settin'."
50
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ISAAC: In this archival sequence
51
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Langston Hughes is reciting
the Ballad Of The Fortune Teller.
52
00:04:04,421 --> 00:04:10,064
He used to do this thing where he used to recite
his poetry with a jazz quartet.
53
00:04:10,101 --> 00:04:16,222
In fact, his poetry and syntax
was very much emulating jazz and blues,
54
00:04:16,261 --> 00:04:18,548
and so this also became one of the reasons
55
00:04:18,581 --> 00:04:25,465
why we used a son of jazz/blues soundtrack
for the actual film.
56
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I was just looking at that tracking shot
from the record player to Langston's face -
57
00:04:30,221 --> 00:04:34,067
or actor who stands in for Langston Hughes -
58
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and that beautiful over-exposure
at some points
59
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and out-of-focusness that you could never
ever get on a digital medium.
60
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That is pure black-and-white film at its best.
61
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♪ Blues singing
62
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♪ You love this music
63
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♪ God knows, we love this music too
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♪ My man's got a heart like a rock...
65
00:05:01,181 --> 00:05:04,981
ISAAC: Here we have Bessie Smith
in St Louis Blues,
66
00:05:05,021 --> 00:05:08,912
which is ostensibly the first rock promo
that was made.
67
00:05:08,941 --> 00:05:12,070
This is a film which we found
at the Museum of Modern An,
68
00:05:12,101 --> 00:05:17,392
and we were able to use this as a son of
intertextual reference
69
00:05:17,421 --> 00:05:20,311
in relationship to trying to think about the blues,
70
00:05:20,341 --> 00:05:26,223
because the blues was the first expression
really where we can hear, as it were,
71
00:05:26,261 --> 00:05:28,912
the articulation of a queer desire.
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00:05:28,941 --> 00:05:31,751
Later on in the film you'll hear Sissy Man Blues
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and another song called Freakish Man Blues,
74
00:05:35,181 --> 00:05:42,702
and all of these songs are articulating questions
around sexuality or sexual issues,
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which are trying to describe the different kind
of sexual relations which are taking place,
76
00:05:47,981 --> 00:05:49,983
in that particular time,
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so the blues and song were very important.
78
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In fact, the song Blues For Langston
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and the soundtrack existed 18 months before
any of the film was shot.
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When we were shooting the film,
81
00:06:03,141 --> 00:06:09,148
we were also using the music to help us
construct the pacing of the tracking shots.
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00:06:10,221 --> 00:06:14,306
We'd listen to it on set or on location
to get the right feet,
83
00:06:14,341 --> 00:06:16,548
because the feet of the pace of the track
84
00:06:16,581 --> 00:06:19,505
obviously has to really work with
that soundtrack.
85
00:06:20,101 --> 00:06:21,751
ANNOUNCER:
A friend of Bruce Nugent,
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00:06:21,781 --> 00:06:24,705
a friend of Alain Locke,
a friend of Wallace Thurman,
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admired for their intelligence and their art.
88
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Were they seeking the approval of their race?
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Or of the black middle class
and the white literary establishment?
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(Typewriter taps)
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00:06:35,621 --> 00:06:37,623
Langston Hughes wrote:
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"The ordinary negro
hadn't heard of the Renaissance,
93
00:06:40,381 --> 00:06:43,669
and if they had,
it hadn't raised their wages any."
94
00:06:45,501 --> 00:06:47,629
Baraka said: "Harlem was vicious..."
95
00:06:47,661 --> 00:06:51,461
ISAAC: In this tracking shot,
you've got the Van der Zee photograph
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then "Fire" is the letter
which has been written by Wallace Thurman,
97
00:06:55,421 --> 00:06:57,742
so this is the Wallace Thurman character,
98
00:06:57,781 --> 00:07:01,069
and imagining him being in his apartment.
99
00:07:01,101 --> 00:07:05,629
There we have Countee Cullen's
On These I Stand,
100
00:07:05,661 --> 00:07:07,663
his book of poems.
101
00:07:07,701 --> 00:07:09,829
"..Even if it was a widely shared one."
102
00:07:09,861 --> 00:07:11,863
(Police siren)
103
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♪ Blues piano
104
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NINA: Now we're back on the crane,
everyone 's frozen, as if in a still photograph.
105
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But we're moving, the camera's moving.
And the smoke is moving.
106
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Smokes used as almost a sculptural element
in this. It's not atmos smoke.
107
00:07:32,981 --> 00:07:35,712
I think one of the things about the relationship
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between photography
and the moving image and stillness,
109
00:07:39,061 --> 00:07:42,668
which was one of the other things
which we were thinking a lot about,
110
00:07:42,701 --> 00:07:48,663
was really trying to evoke a play between
both the still and moving image,
111
00:07:48,701 --> 00:07:51,989
and obviously in relationship to
the question of memory,
112
00:07:52,021 --> 00:07:58,142
and I think this whole idea of evoking a mood
that would emulate a particular time,
113
00:07:58,181 --> 00:08:01,310
and, at the same time,
create this subterranean world,
114
00:08:01,341 --> 00:08:04,584
where, basically, we are in a speakeasy.
115
00:08:05,341 --> 00:08:09,426
The speakeasy
which is being constructed here
116
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would be one of the sons of bars that perhaps
one would have gone to in Harlem
117
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in the Twenties and the Thirties.
118
00:08:19,261 --> 00:08:22,788
But, obviously, in this film,
it's very much about the mythic,
119
00:08:22,821 --> 00:08:28,669
and it's very much about trying to not really
construct anything to do with a reality,
120
00:08:28,701 --> 00:08:33,741
but really a phantasmatic
or stylised son of space.
121
00:08:33,781 --> 00:08:35,783
I think this idea of fantasy,
122
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and trying to construct a space
to articulate desire, is really very important.
123
00:08:43,541 --> 00:08:45,828
♪ Freakish Man Blues
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♪ You mix ink with water
125
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♪ Bound to turn it black
126
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♪ You run around with funny people
127
00:08:55,821 --> 00:09:00,031
♪ You get a streak of it up your back
128
00:09:02,261 --> 00:09:04,263
♪ There was a time when I was alone
129
00:09:05,341 --> 00:09:08,788
♪ My freakish ways to see
130
00:09:10,341 --> 00:09:12,548
♪ There was a time when I was alone
131
00:09:13,021 --> 00:09:16,025
♪ My freakish ways to see
132
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♪ But they're so common now
133
00:09:20,621 --> 00:09:23,386
♪ You get one every day in the week
134
00:09:26,381 --> 00:09:29,430
♪ Had a strange feelin' this morning...
135
00:09:29,461 --> 00:09:33,705
ISAAC: The song that's being sung behind
is Freakish Man Blues.
136
00:09:34,341 --> 00:09:39,745
So this is also probably one of the first
blues songs which have been recorded
137
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that is actually articulating this question
of a black, bisexual, gay desire,
138
00:09:46,021 --> 00:09:48,627
so there are all these intertextual references.
139
00:09:48,661 --> 00:09:51,710
It's not just a song that is a blues song.
140
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It's a song that has a very specific
and historical reference.
141
00:09:59,661 --> 00:10:04,269
Each still in Looking For Langston,
or moving frame in the film,
142
00:10:04,301 --> 00:10:06,303
could be a pictorial photograph.
143
00:10:06,341 --> 00:10:11,381
I think the question of pictorialism
is very important in the piece.
144
00:10:11,421 --> 00:10:13,423
I think this particular shot,
145
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which is the parody of a quite famous
George Platt Lynes photograph,
146
00:10:19,381 --> 00:10:22,942
is an interesting one for us to really discuss.
147
00:10:22,981 --> 00:10:28,465
In it, what I was interested in doing
was to try to parody the shot,
148
00:10:28,501 --> 00:10:31,789
but then to do something else with that as well.
149
00:10:31,821 --> 00:10:34,904
So it's, in a way,
bringing photographs to life.
150
00:10:35,941 --> 00:10:38,945
That's enhanced by the tracking shot,
151
00:10:38,981 --> 00:10:42,588
but also by the lighting, which is different.
152
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- In a way, it's improved.
(Nina laughs)
153
00:10:49,181 --> 00:10:51,866
We also just shifted its meaning, in a way,
as well,
154
00:10:51,901 --> 00:10:54,222
towards something else that you wanted to do.
155
00:10:54,261 --> 00:10:58,346
We've got some stills of Isaac and l
sitting on the bed discussing this shot,
156
00:10:58,381 --> 00:11:02,909
looking at the original and talking about
the changes that we were going to make.
157
00:11:02,941 --> 00:11:05,865
At some other point,
you can just see that stilt photograph
158
00:11:05,901 --> 00:11:07,585
and compare the lighting on the body,
159
00:11:07,621 --> 00:11:11,467
particularly if you look at that very first long,
slow track along the body,
160
00:11:11,501 --> 00:11:13,105
which is really, really gorgeous,
161
00:11:13,141 --> 00:11:17,351
and the way the tight models that body
on the bed, and then took at the original.
162
00:11:17,381 --> 00:11:18,985
We did something else with it.
163
00:11:19,021 --> 00:11:22,742
And the bed itself - a different choice
by the production designer and Isaac,
164
00:11:22,781 --> 00:11:24,510
which gives it a different meaning.
165
00:11:24,541 --> 00:11:27,750
There's a moving light in the background,
the gaffer needed a candle.
166
00:11:27,781 --> 00:11:30,261
We used a particular gobo that she produced.
167
00:11:30,301 --> 00:11:32,303
Everything is slightly shifting,
168
00:11:32,341 --> 00:11:35,743
so you're never in a fixed, known,
absolutely known, space.
169
00:11:36,821 --> 00:11:38,823
We 're not saying this is a particular room.
170
00:11:38,861 --> 00:11:43,071
All the time we're taking you out into a, kind of,
an emotional area, really.
171
00:11:44,581 --> 00:11:46,663
I think, also, one of the other things
172
00:11:46,701 --> 00:11:52,231
was really trying to think about
the different racial representations in it as well.
173
00:11:52,261 --> 00:11:54,468
In the George Platt Lynes photographs
174
00:11:54,501 --> 00:11:57,266
all the subjects are white.
175
00:11:57,301 --> 00:12:03,183
I think there's also this idea of trying to insert,
as it were, other representations,
176
00:12:03,621 --> 00:12:07,023
specifically black, gay representations,
in their place.
177
00:12:07,821 --> 00:12:13,385
In a way, this parodying is very much central
in the making of the film.
178
00:12:13,421 --> 00:12:16,743
Robert Mapplethorpe was also another
influence in the film,
179
00:12:16,781 --> 00:12:18,783
and we're thinking about that
180
00:12:18,821 --> 00:12:23,224
in relationship to trying to not fetishise
a black body in the same son of way,
181
00:12:23,261 --> 00:12:30,827
to create a sensuous representation
that perhaps has a softer edge to it
182
00:12:30,861 --> 00:12:33,341
than the one which Mapplethorpe would give.
183
00:12:33,381 --> 00:12:37,989
Nonetheless, I think Mapplethorpe is also
someone that we're very much thinking about
184
00:12:38,021 --> 00:12:41,423
when making the piece of work,
and making the images.
185
00:12:43,861 --> 00:12:47,661
"His eyes wandered on past
the muscular hocks to the firm thighs...
186
00:12:49,501 --> 00:12:52,072
...the rounded buttocks, then the...
187
00:12:52,101 --> 00:12:55,503
NINA: We 're out in the salt marshes
at this point in the film.
188
00:12:55,541 --> 00:12:57,543
...and broad, deep chest."
189
00:12:57,581 --> 00:13:00,710
ISAAC: I think one of things that's amazing
is this crane shot,
190
00:13:00,741 --> 00:13:03,665
which we have the photograph here
of you preparing.
191
00:13:03,701 --> 00:13:06,227
There is a small technical story to this shot.
192
00:13:06,261 --> 00:13:08,263
When we recced it, the tide was out.
193
00:13:08,301 --> 00:13:11,783
The tide obviously doesnt come in this far
because it's a salt marsh,
194
00:13:11,821 --> 00:13:14,028
but the water comes up underneath the land.
195
00:13:14,061 --> 00:13:16,871
When we recced it, the tide was out,
so it was dry and firm.
196
00:13:16,901 --> 00:13:21,782
Picked a spot for the crane, we've come back
and, of course, the tide 's in and it's soft.
197
00:13:21,821 --> 00:13:24,825
We did find another equally good place
for the crane.
198
00:13:24,861 --> 00:13:28,104
That's one of the things you learn as a DP.
(Laughs)
199
00:13:28,781 --> 00:13:30,465
"..he became confused."
200
00:13:30,501 --> 00:13:33,232
But the reveal's great,
and you're just on the surface,
201
00:13:33,261 --> 00:13:36,663
and then you come up and there are these
beautiful pools going away.
202
00:13:36,701 --> 00:13:40,547
Also, the poem which is being read
through this sequence
203
00:13:40,581 --> 00:13:43,187
is a poem called Smoke, Lilies And Jade,
204
00:13:43,221 --> 00:13:45,986
which was written by Bruce Nugent.
205
00:13:46,661 --> 00:13:51,986
And it's the first black, queer text
to appear in a literary journal.
206
00:13:52,621 --> 00:13:54,623
It appeared in Fire.
207
00:13:56,461 --> 00:14:01,911
One of the things about this text really was that
it was so controversial when it was written
208
00:14:01,941 --> 00:14:09,871
that there was a protest made by a number
of black bourgeois intelligentsia against it.
209
00:14:09,901 --> 00:14:16,147
The thing that's very interesting for me was that
we, again, had this quite interesting text
210
00:14:16,181 --> 00:14:19,947
that we didn't want to literally represent.
211
00:14:21,021 --> 00:14:29,623
And so the flatness of the marsh goes against
the pictorial, florid iconography in that poem.
212
00:14:29,661 --> 00:14:31,663
"He flushed warm with shame.
213
00:14:33,781 --> 00:14:35,863
Or was it shame?
214
00:14:39,501 --> 00:14:42,311
His pulse was hammering
from wrist to fingertip.
215
00:14:43,821 --> 00:14:45,823
Beauty's lips touched his.
216
00:14:47,341 --> 00:14:49,343
His temples throbbed.
217
00:14:50,381 --> 00:14:52,383
Beauty's breath came short now."
218
00:14:52,421 --> 00:14:56,221
NINA: Just looking at the kiss, as well,
I slowed that down in the camera.
219
00:14:56,261 --> 00:14:58,070
You don't really read it as slow motion,
220
00:14:58,101 --> 00:15:03,267
but it gives it a weight and a heaviness
and a sensuality that I think really helps.
221
00:15:03,301 --> 00:15:05,303
(Both laugh)
222
00:15:05,341 --> 00:15:10,029
And then we have this shot here
which is really the classic shot.
223
00:15:10,061 --> 00:15:13,588
It was the shot which was used for
the poster campaign of the film
224
00:15:13,621 --> 00:15:17,182
when it first was released in Berlin in 1989.
225
00:15:17,221 --> 00:15:20,384
Also it's, in the iconic sense,
226
00:15:20,421 --> 00:15:24,221
one of the images which were used
when the film was released.
227
00:15:24,261 --> 00:15:29,301
Again, it's a parody
of a George Platt Lynes photograph.
228
00:15:29,341 --> 00:15:34,552
It's actually one of the only photographs
where he has a black subject
229
00:15:34,581 --> 00:15:36,583
coupled with a white subject.
230
00:15:36,621 --> 00:15:38,589
In this translation of it
231
00:15:38,621 --> 00:15:40,942
I have two black subjects.
232
00:15:41,581 --> 00:15:43,663
That said, they're quite light-skinned
233
00:15:43,701 --> 00:15:45,703
and that was also one of the issues
234
00:15:45,741 --> 00:15:47,743
which came up as a debate
235
00:15:47,781 --> 00:15:49,783
at the time when it was made.
236
00:15:49,821 --> 00:15:53,746
Of course, this debate very much
is connected to the question of class
237
00:15:53,781 --> 00:15:56,910
and the kind of society that one's depicting,
238
00:15:57,941 --> 00:16:03,584
where, basically,
the question of class and caste
239
00:16:03,621 --> 00:16:09,105
is really centrally implicated in who is an artist
and who isn't.
240
00:16:09,981 --> 00:16:11,904
♪ Jazzy piano
241
00:16:54,141 --> 00:16:58,465
"He said: Put no difference into your tone
when you speak of his name.
242
00:16:59,221 --> 00:17:02,464
Wear no forced air of solemnity or sorrow.
243
00:17:03,621 --> 00:17:05,703
Let my name be spoken without effect.
244
00:17:06,821 --> 00:17:09,950
Without the ghost of shadow on it."
245
00:17:14,261 --> 00:17:15,706
♪ Blues
246
00:17:15,741 --> 00:17:19,223
ISAAC: This is one of the tracking shots
that I was very excited about
247
00:17:19,261 --> 00:17:21,263
when we were making the film,
248
00:17:21,301 --> 00:17:25,784
because it's a track which we laid
across the whole room.
249
00:17:26,821 --> 00:17:32,032
It was a tracking shot
which was surveying the whole space,
250
00:17:32,061 --> 00:17:35,747
and in it we have images of James Baldwin,
251
00:17:36,661 --> 00:17:38,663
images of Langston Hughes,
252
00:17:39,261 --> 00:17:46,190
and then you have this son of, if you like,
very languid exploration of the space.
253
00:17:47,981 --> 00:17:52,589
And then, of course, we have the refrain
of the Blues For Langston song as well.
254
00:17:52,621 --> 00:17:55,943
But I thought that in this shot
we really achieved something
255
00:17:55,981 --> 00:17:59,702
in relationship to thinking about
the use of long tracking shots,
256
00:17:59,741 --> 00:18:02,790
and also the use of choreography.
257
00:18:02,821 --> 00:18:06,223
That's one of the real aspects
which is really important
258
00:18:06,861 --> 00:18:09,671
into the way that the film was made,
259
00:18:09,701 --> 00:18:14,832
that we're thinking about trying to link
quite long tracking shots,
260
00:18:14,861 --> 00:18:18,786
which would, in a way,
give the space in the film
261
00:18:18,821 --> 00:18:23,190
for there to be a sort of meditation
that could be performed.
262
00:18:23,221 --> 00:18:26,942
If we look at some transitions in the film,
like the one I've just seen,
263
00:18:26,981 --> 00:18:28,585
shadow is enormously important.
264
00:18:28,621 --> 00:18:30,510
That whole way of keeping the flow going,
265
00:18:30,541 --> 00:18:35,183
and moving shots that go into one another,
fade into each other, or cut into one another.
266
00:18:35,221 --> 00:18:38,942
ll helps the audience really hear,
or really listen to, a soundtrack.
267
00:18:38,981 --> 00:18:43,509
In this sequence we're very much thinking
about the play between light and dark.
268
00:18:43,541 --> 00:18:48,911
It begins with this tracking shot
at the gasometers in King's Cross,
269
00:18:48,941 --> 00:18:51,342
which was shot at dusk,
270
00:18:51,381 --> 00:18:53,588
waiting for a particular sort of light.
271
00:18:53,621 --> 00:18:55,749
Again, there's the use of a tracking shot,
272
00:18:55,781 --> 00:18:58,785
where it's tracking forward
and then backtracking.
273
00:19:02,741 --> 00:19:04,743
Again, the light here's quite hard.
274
00:19:04,781 --> 00:19:06,783
It's hard for a particular reason
275
00:19:06,821 --> 00:19:12,146
in relationship to trying to think about
the question of shadowing.
276
00:19:12,181 --> 00:19:15,310
This is the point in the cemetery
where we lost the main tights.
277
00:19:15,341 --> 00:19:19,903
We were basically left with one sun gun,
which is a handheld, battery-operated lamp.
278
00:19:19,941 --> 00:19:22,831
But if you shift that lamp,
again it reveals depth.
279
00:19:22,861 --> 00:19:26,911
S0 you can actually even use just one lamp
to create some feeling,
280
00:19:26,941 --> 00:19:29,023
as the light picks up and reveals things.
281
00:19:29,061 --> 00:19:31,063
It does great things.
282
00:19:31,101 --> 00:19:33,342
"Above or below, a man.
283
00:19:34,661 --> 00:19:36,663
This is our heat."
284
00:19:36,701 --> 00:19:39,022
ISAAC: I remember in this shot where,
basically,
285
00:19:39,061 --> 00:19:42,383
at one point we were saying
that there wasn't enough light.
286
00:19:42,421 --> 00:19:44,423
We were really pushed!
287
00:19:44,461 --> 00:19:46,828
I really wanted it to be very dark.
288
00:19:46,861 --> 00:19:49,467
That was really very important-
289
00:19:51,261 --> 00:19:54,390
that darkness would be a feature.
290
00:19:54,421 --> 00:19:56,662
I think particularly in this tracking shot here
291
00:19:56,701 --> 00:20:00,501
where you're not able to quite make out
what son of space you're in,
292
00:20:01,661 --> 00:20:03,663
and then the reveal,
293
00:20:03,701 --> 00:20:11,791
is very much part of trying to reconstruct
or create a spatial kind of displacement
294
00:20:11,821 --> 00:20:13,550
within the image,
295
00:20:13,581 --> 00:20:15,583
which you can do in black and white.
296
00:20:15,621 --> 00:20:17,623
Very important in the film.
297
00:20:18,301 --> 00:20:20,907
"We don't have to say, 'I love you.'
298
00:20:21,701 --> 00:20:23,703
The dark swallows it,
299
00:20:24,741 --> 00:20:26,948
and sighs like we sigh."
300
00:20:26,981 --> 00:20:30,190
Also, I was very nervous
about shooting in the cemetery,
301
00:20:30,221 --> 00:20:34,704
because I was very worried about
the implications of what one was trying to...
302
00:20:34,741 --> 00:20:42,307
in a way, equate the question of desire
and death, if you like, simultaneously,
303
00:20:42,341 --> 00:20:46,232
and I was very worried about it
perhaps being too literal,
304
00:20:46,261 --> 00:20:48,662
or sending the wrong ideological message.
305
00:20:48,701 --> 00:20:51,591
And it was very interesting to think about how...
306
00:20:51,621 --> 00:20:55,148
again, the black-and-white photography
and the tracking shots
307
00:20:56,181 --> 00:21:02,462
gave a completely opposite picture, or picturing,
to these scenes,
308
00:21:03,701 --> 00:21:08,832
then trying to think about shots where you don't
want too many things to actually happen
309
00:21:08,861 --> 00:21:10,863
within the shot itself-
310
00:21:10,901 --> 00:21:12,903
quite simple gestures and actions.
311
00:21:12,941 --> 00:21:14,943
Yeah, 'cos the soundtrack so rich,
312
00:21:14,981 --> 00:21:18,702
you don't want too much going on
in the image at that particular point.
313
00:21:18,741 --> 00:21:20,743
"..destroy it from within.
314
00:21:20,781 --> 00:21:22,783
But the disillusioned,
315
00:21:23,581 --> 00:21:28,508
those who've lost the stardust,
the moondance, the waterfront,
316
00:21:29,541 --> 00:21:32,431
like them, I long for my past.
317
00:21:33,461 --> 00:21:36,863
When I was ten, thirteen, twenty...
318
00:21:37,901 --> 00:21:39,505
...l wanted candy,
319
00:21:39,541 --> 00:21:42,511
five dollars a ride."
320
00:21:48,221 --> 00:21:50,827
Classic, classic film noir shot.
321
00:22:09,581 --> 00:22:13,586
♪ Oh, ho-ho-ho-ho, ohh
322
00:22:16,101 --> 00:22:18,502
♪ Come on, look at me
323
00:22:19,581 --> 00:22:21,583
♪ Beautiful black man...
324
00:22:21,621 --> 00:22:24,943
I feel I should talk a little bit in this sequence
about Blackberri,
325
00:22:24,981 --> 00:22:27,905
the musician who has composed
and is singing this song.
326
00:22:29,421 --> 00:22:35,781
I first heard this song actually in a conference
in 1986, in Los Angeles.
327
00:22:35,821 --> 00:22:37,823
And I met Blackberri,
328
00:22:37,861 --> 00:22:40,671
who was this black, gay musician
and performer.
329
00:22:40,701 --> 00:22:43,671
And...as soon as I heard this song,
330
00:22:44,501 --> 00:22:47,027
I knew that I wanted this song to be in the film.
331
00:22:48,021 --> 00:22:52,265
And, very fortunately for me,
he was coming to London,
332
00:22:52,301 --> 00:22:54,781
and we recorded this live in a studio,
333
00:22:54,821 --> 00:22:56,823
with a jazz quartet.
334
00:22:59,061 --> 00:23:01,063
And the jazz quartet included...
335
00:23:02,221 --> 00:23:07,227
...Julian Joseph, who's actually
quite a famous jazz musician now.
336
00:23:08,061 --> 00:23:11,588
♪ They want two pictures, did they want three?
337
00:23:12,981 --> 00:23:16,463
♪ I know it's hard, but sometimes we must...
338
00:23:16,501 --> 00:23:18,629
And one of the things about this scene,
339
00:23:19,301 --> 00:23:22,828
is that I wanted to try to construct a space
340
00:23:23,821 --> 00:23:29,066
that would be able to replicate some of the
issues which were being sung in the song,
341
00:23:29,101 --> 00:23:32,105
and at the same time
try to relate that historically.
342
00:23:32,821 --> 00:23:35,552
So there's a clip from Ten Minutes To Live,
343
00:23:35,581 --> 00:23:37,583
a film by Oscar Micheaux,
344
00:23:37,621 --> 00:23:42,104
and then this is an archive of negro artists.
345
00:23:42,141 --> 00:23:46,032
It was, in a way, a film that was trying to show
346
00:23:46,061 --> 00:23:49,952
that some positive developments
were taking place.
347
00:23:49,981 --> 00:23:51,392
♪ You're beautiful
348
00:23:51,421 --> 00:23:53,230
♪ You've got a beautiful face
349
00:23:53,261 --> 00:23:58,392
♪ I'm saying you're beautifu-u-ul...
350
00:23:59,701 --> 00:24:02,625
You could say it was like a propaganda film,
in fact,
351
00:24:02,661 --> 00:24:06,905
that was being made during the Thirties,
during the Depression,
352
00:24:06,941 --> 00:24:10,468
to try to show a different son of picture.
353
00:24:10,501 --> 00:24:15,189
But all of these occasions
are quite famous moments
354
00:24:15,221 --> 00:24:17,952
in African-American history,
355
00:24:18,621 --> 00:24:20,623
in terms of the black ans.
356
00:24:20,661 --> 00:24:23,585
They're all very well-known painters,
357
00:24:24,821 --> 00:24:28,223
and artists that appear in the actual film.
358
00:24:31,981 --> 00:24:35,906
NARRATOR: By the end of the Twenties,
negroes were no longer in vogue.
359
00:24:36,621 --> 00:24:38,942
Patrons found other uses for their money.
360
00:24:39,741 --> 00:24:42,631
Sophisticated New Yorkers
turned to Noél Coward,
361
00:24:43,661 --> 00:24:46,870
and coloured artists and writers
began to go hungry.
362
00:24:48,661 --> 00:24:52,552
History-
the smiler with the knife under the cloak.
363
00:24:54,421 --> 00:24:56,423
(Police siren wails)
364
00:25:16,661 --> 00:25:19,062
"He speaks good damn English to me.
365
00:25:19,741 --> 00:25:21,743
I'm his brother- Carver.
366
00:25:21,781 --> 00:25:26,184
He doesn't speak that 'dis' and 'dat' bull
I've seen quoted."
367
00:25:26,221 --> 00:25:30,545
ISAAC: One of the things I wanted them to do
was to make all their movements very slow,
368
00:25:30,581 --> 00:25:33,551
creating a timeless atmosphere,
369
00:25:33,581 --> 00:25:35,583
making the action slowed down,
370
00:25:36,501 --> 00:25:39,391
so something could look like
it was in slow motion,
371
00:25:39,421 --> 00:25:41,822
as well as sometimes slowing down the film.
372
00:25:41,861 --> 00:25:45,070
But deliberately asking the performers
to move slowly.
373
00:25:45,101 --> 00:25:47,991
We've got a combination of things
happening in this film.
374
00:25:48,021 --> 00:25:51,946
Sometimes the camera's running slightly slow,
sometimes the performers...
375
00:25:51,981 --> 00:25:56,782
Isaac's asked the performers to move in a stow
and languid way, to contribute to the feet.
376
00:25:56,821 --> 00:26:00,030
All this was done live,
of course, none of this is digital.
377
00:26:00,061 --> 00:26:03,463
This is a live...event, almost, if you like,
378
00:26:03,501 --> 00:26:07,222
with the tracking shot co-ordinated with
movement with the projection -
379
00:26:07,261 --> 00:26:09,867
on muslin, I think we had it on, hanging muslin.
380
00:26:09,901 --> 00:26:12,188
So there 's movement in those images too.
381
00:26:12,221 --> 00:26:15,828
S0 they waft - that's another level of sensuality
that comes into these.
382
00:26:15,861 --> 00:26:17,863
When he touches them, they move.
383
00:26:17,901 --> 00:26:22,623
The thing that was really very important,
was how could we use certain images...
384
00:26:23,621 --> 00:26:29,947
but in a way that would add to a stylisation
of the actual tracking shot
385
00:26:29,981 --> 00:26:32,188
that would aid movement?
386
00:26:33,421 --> 00:26:36,504
And so I think it was
this son of use of back projection
387
00:26:37,181 --> 00:26:42,950
and also the kind of coming together of
the projected image and the performance
388
00:26:42,981 --> 00:26:46,224
that's taking place in front of that and behind it,
389
00:26:47,021 --> 00:26:50,104
using the front
and also the back of the tracking shot,
390
00:26:51,021 --> 00:26:54,423
the same movement to say different things.
391
00:27:06,941 --> 00:27:08,943
(Projector whirs)
392
00:27:12,141 --> 00:27:14,143
"Lowering my pants...
393
00:27:14,181 --> 00:27:16,309
before another mouth.
394
00:27:18,141 --> 00:27:22,271
The cheap movie reel rattles
in its compartment."
395
00:27:22,301 --> 00:27:24,303
This was a very difficult shot to do.
396
00:27:25,101 --> 00:27:28,787
Because, basically,
it's just the edge of someone's head,
397
00:27:28,821 --> 00:27:30,550
and it's all black.
398
00:27:30,581 --> 00:27:34,870
And the person's got black hair and they're
black and they're in a dark space.
399
00:27:34,901 --> 00:27:37,632
Then you're trying to reveal them in one shot.
400
00:27:37,661 --> 00:27:42,144
And some of the shots we were trying to do
were quite difficult shots to achieve.
401
00:27:42,181 --> 00:27:45,902
It's a really simple shot
but technically it's really difficult.
402
00:27:45,941 --> 00:27:50,344
Down from the screen onto the back of his
head, tracking round him, very tight and close.
403
00:27:50,381 --> 00:27:52,668
It's a bit of a focus puller's nightmare.
404
00:27:52,701 --> 00:27:54,829
(Laughs) But we got there in the end.
405
00:27:56,021 --> 00:28:00,310
"Giving the movie its dialogue.
406
00:28:13,101 --> 00:28:16,105
Now we think...as we fuck
407
00:28:17,021 --> 00:28:20,025
this...nut...might...kill us.
408
00:28:21,421 --> 00:28:24,504
There might be a pin-sized hole..."
409
00:28:24,541 --> 00:28:28,546
That sequence - what we're doing is actually
flagging tights on and off.
410
00:28:28,581 --> 00:28:31,391
There's light shifting
from the video screen on the face,
411
00:28:31,421 --> 00:28:35,824
but on the couple together there's lights on
and off - you leave things to the imagination.
412
00:28:35,861 --> 00:28:37,625
You don't have to see everything.
413
00:28:37,661 --> 00:28:41,461
"putting lips, tongues, everywhere."
414
00:28:42,701 --> 00:28:44,510
ISAAC: In this scene,
415
00:28:44,541 --> 00:28:47,670
it was how could you have
something that was raunchy
416
00:28:47,701 --> 00:28:53,185
but was also not going to
completely be censored, as well?
417
00:28:53,741 --> 00:28:57,382
So trying to play that was very interesting.
418
00:28:57,421 --> 00:29:02,302
And also, at this particular moment,
you're dealing with quite a lot of censorship.
419
00:29:02,341 --> 00:29:05,823
There's also a censorship issue
in terms of the making of the film,
420
00:29:05,861 --> 00:29:10,549
because the Langston Hughes estate
objected to the equating of Hughes's work
421
00:29:10,581 --> 00:29:12,549
and homoeroticism.
422
00:29:12,581 --> 00:29:14,583
But that's another longer story.
423
00:29:24,661 --> 00:29:27,141
NARRATOR: Sometimes on the edge of sleep,
424
00:29:27,181 --> 00:29:30,867
these faces and others are projected
against the wall of memory.
425
00:29:32,501 --> 00:29:36,790
And almost immediately, I am back
in the gallery where I first saw these faces
426
00:29:36,821 --> 00:29:38,903
and heard their names.
427
00:29:39,941 --> 00:29:43,627
Being introduced to Alain Locke
at an impromptu all-boy tea party.
428
00:29:44,661 --> 00:29:47,585
Kissing Langston Hughes,
and never forgetting it.
429
00:29:48,501 --> 00:29:50,981
Being photographed by Carl Van Vechten.
430
00:29:53,021 --> 00:29:57,629
Staging the first production of Baldwin's
The Amen Corner at Howard University.
431
00:29:59,421 --> 00:30:01,549
Straightening Harold Jackman's tie.
432
00:30:02,821 --> 00:30:05,222
Not caring much for Countee Cullen's looks.
433
00:30:06,501 --> 00:30:09,027
Hunting dark meat with Auden up in Harlem.
434
00:30:10,061 --> 00:30:12,063
Being loved.
435
00:30:18,901 --> 00:30:23,623
What probably seemed obvious to him then,
would not make itself clear to me for years.
436
00:30:24,661 --> 00:30:26,982
We were linked by our homosexual desires.
437
00:30:28,501 --> 00:30:32,631
Eventually I discovered that they had broken
a number of rules about..."
438
00:30:32,661 --> 00:30:35,267
ISAAC: This is another scene from
Ten Minutes To Live.
439
00:30:36,101 --> 00:30:38,547
And I was looking at this fiction film,
440
00:30:38,581 --> 00:30:43,382
because in this scene it had representations
of moving images of New York in the Twenties.
441
00:30:43,421 --> 00:30:49,030
And this was a very important archival image
that I found as well, from an archive.
442
00:30:49,061 --> 00:30:54,864
Because there were very few images of blacks
which were moving images.
443
00:30:54,901 --> 00:30:57,222
And these images are very rare really,
444
00:30:57,261 --> 00:30:59,468
seeing artists...
445
00:30:59,501 --> 00:31:01,503
black artists at work.
446
00:31:01,541 --> 00:31:05,671
L remember when this was first shown,
that people were really surprised.
447
00:31:05,701 --> 00:31:10,025
Lots of art historians didn't know
that this sort of footage existed.
448
00:31:11,061 --> 00:31:12,665
And so um...
449
00:31:12,701 --> 00:31:17,468
part of this was also interest in,
in a sort of art historical sense,
450
00:31:17,501 --> 00:31:20,471
seeing this mural, for example,
451
00:31:20,501 --> 00:31:22,868
which no longer exists.
452
00:31:22,901 --> 00:31:27,463
But people were really surprised to see
that this archival representation
453
00:31:27,501 --> 00:31:32,667
was in a film made by a black British person,
unbeknown to them.
454
00:31:32,701 --> 00:31:35,989
So that was something
that was really quite a revelation,
455
00:31:36,021 --> 00:31:41,869
and, in a way, created a certain sort of
academic and scholarly interest in the film.
456
00:31:42,661 --> 00:31:47,349
An interest that would clash with some of
the African-American literary scholars,
457
00:31:47,381 --> 00:31:54,902
who were interested in having a very canonised
and very neutral representation of Hughes
458
00:31:54,941 --> 00:32:01,062
as the race man - not as someone who was
interesting in terms of his sexual identity
459
00:32:01,101 --> 00:32:04,583
and that could aid his actual writing
and literature.
460
00:32:04,621 --> 00:32:06,623
♪ Jazzy instrumental
461
00:32:36,901 --> 00:32:39,427
One of the other things as well
is the casting.
462
00:32:39,461 --> 00:32:43,591
Ben Ellison actually does look like
Langston Hughes when he was younger.
463
00:32:43,621 --> 00:32:45,623
He really looks like him.
464
00:33:00,021 --> 00:33:04,629
Again, here we have a deliberate clash
over the River Thames.
465
00:33:04,661 --> 00:33:08,985
Because I wanted to reveal that this film
actually wasn't shot in the States,
466
00:33:09,021 --> 00:33:12,628
that it was shot in England, in London,
467
00:33:12,661 --> 00:33:15,551
and it was actually shot
at a contemporary moment.
468
00:33:16,221 --> 00:33:20,067
But again we have this son of
representation of the train,
469
00:33:20,101 --> 00:33:22,502
which is a son of running motif in the film.
470
00:33:27,661 --> 00:33:30,187
"The poem ends soft as it began.
471
00:33:31,621 --> 00:33:33,783
I loved my friend."
472
00:33:33,821 --> 00:33:38,145
For the American version, because of
the demands of the Langston Hughes estate,
473
00:33:38,181 --> 00:33:40,707
we actually had to take out
some of Hughes's poems.
474
00:33:40,741 --> 00:33:45,030
They wanted us to completely remove
the references to Hughes.
475
00:33:45,061 --> 00:33:47,587
They wanted us to change the title of the film.
476
00:33:47,621 --> 00:33:51,148
And what was interesting in terms of
how a certain, if you like,
477
00:33:51,181 --> 00:33:53,787
cause célébre developed from this,
478
00:33:53,821 --> 00:33:58,588
was that a number of black intellectuals
and scholars, such as Henry Louis Gates,
479
00:33:58,621 --> 00:34:02,103
bell hooks and Cornell West,
all came to the defence of the film.
480
00:34:02,141 --> 00:34:06,066
And, in a way, that created a space
for the film to exist.
481
00:34:06,101 --> 00:34:08,991
And it created an interest, really, as well.
482
00:34:09,021 --> 00:34:14,983
But it was something which was really being
contested by the estate at that time,
483
00:34:15,021 --> 00:34:21,302
because they were very nervous about trying to
keep a very pure and canonised representation.
484
00:34:21,341 --> 00:34:23,548
"A city dreaming to a lullaby.
485
00:34:27,061 --> 00:34:30,270
Reach up your hand, dark boy,
and take a star
486
00:34:30,301 --> 00:34:33,111
Out of the little breath of oblivion that is night.
487
00:34:33,141 --> 00:34:35,906
Take just one star."
488
00:34:50,581 --> 00:34:54,950
This sequence that we 've just got into here -
it's been running for a while now -
489
00:34:54,981 --> 00:34:56,983
it's the angel's point of view.
490
00:35:00,741 --> 00:35:05,429
I mean, the angel's obviously a reference
to the cinema of Jarman,
491
00:35:05,461 --> 00:35:11,104
but also, kind of, in the film I was thinking about
Walter Benjamin's Angel Of History.
492
00:35:11,141 --> 00:35:15,829
That was another idea that I was interested in.
493
00:35:16,861 --> 00:35:20,183
"..But I knew I was fucking fallen angels..."
494
00:35:21,621 --> 00:35:24,943
It's something that a number of writers
have looked at now,
495
00:35:24,981 --> 00:35:26,983
Kaja Silverman, in particular.
496
00:35:27,941 --> 00:35:33,152
One of the things that one was trying to think
about in terms of making this piece of work
497
00:35:33,181 --> 00:35:39,507
was really how could you try to construct
a certain imaginary
498
00:35:39,541 --> 00:35:44,911
that would lend itself to thinking about
questions of death and immortality,
499
00:35:44,941 --> 00:35:49,868
and at the same time link it to
the films of Cocteau, for example,
500
00:35:49,901 --> 00:35:52,905
one of the main other influences
in terms of the film.
501
00:35:52,941 --> 00:35:58,266
At the same time, there's a conversation that's
taking place between these different cinemas -
502
00:35:58,301 --> 00:36:03,626
silent cinema,
a cinema from the late Eighties of Jarman,
503
00:36:03,661 --> 00:36:06,983
but also harking back to Cocteau.
504
00:36:07,021 --> 00:36:10,992
"..L can change the order of things
to suit my desperations.
505
00:36:12,021 --> 00:36:14,023
You can raise your legs.
506
00:36:14,061 --> 00:36:16,063
Almost touch heaven.
507
00:36:17,101 --> 00:36:20,230
I can be an angel falling."
508
00:36:43,741 --> 00:36:45,903
This sequence that you're going to see here
509
00:36:45,941 --> 00:36:49,229
is shot actually at the back of a nightclub
called Heaven,
510
00:36:49,261 --> 00:36:51,468
which is, I think, still running.
511
00:36:51,501 --> 00:36:57,383
It's been a site for clubbing for gays
for at least 2O years in London.
512
00:36:57,421 --> 00:36:59,549
And one of the things I was trying to do,
513
00:36:59,581 --> 00:37:03,188
was really create a social space, a queer space.
514
00:37:03,861 --> 00:37:08,742
And that sort of queer space
gets referenced, really, pictorially,
515
00:37:08,781 --> 00:37:13,423
by trying to link the film both
to the contemporary and the past.
516
00:37:13,461 --> 00:37:17,910
And so, again, all the spaces
are quite deliberately chosen,
517
00:37:17,941 --> 00:37:19,431
in terms of locations.
518
00:37:21,461 --> 00:37:26,342
This sort of attack that's happening
at the end of the film really is set in the present,
519
00:37:26,381 --> 00:37:27,667
if you like.
520
00:37:27,701 --> 00:37:33,663
But also references what was happening
in London in this particular time,
521
00:37:33,701 --> 00:37:37,592
where a number of clubs
were being closed down,
522
00:37:38,421 --> 00:37:41,311
because they were frequented by gays.
523
00:37:41,341 --> 00:37:46,711
And, of course, it's also referencing
the attitude to the speakeasies
524
00:37:46,741 --> 00:37:49,950
from the Twenties and the Thirties in Harlem,
525
00:37:49,981 --> 00:37:52,587
which were also being policed
526
00:37:52,621 --> 00:37:58,947
because alcohol was illegal
at that particular time in New York State.
527
00:37:58,981 --> 00:38:04,306
Obviously, these sorts of spaces
had that activity.
528
00:38:04,341 --> 00:38:09,586
So, this question of censorship,
and also of surveillance,
529
00:38:09,621 --> 00:38:15,469
is really one of the central preoccupations
in the last sequence.
530
00:38:15,501 --> 00:38:18,505
And obviously the poem,
531
00:38:18,541 --> 00:38:21,147
which is a call and response poem,
532
00:38:23,141 --> 00:38:27,703
is also very important in terms of trying
to think about the ways in which
533
00:38:27,741 --> 00:38:32,986
we were going to construct a visual relation
534
00:38:33,981 --> 00:38:36,302
between what's being said and what we see.
535
00:38:36,901 --> 00:38:38,790
"Singapore Slings toasted you.
536
00:38:38,821 --> 00:38:41,301
Under the music pumping from the jukebox.
537
00:38:41,341 --> 00:38:43,628
They were promises chilled by ice cubes.
538
00:38:43,661 --> 00:38:44,742
...chilled by ice cubes.
539
00:38:44,781 --> 00:38:47,512
The boys whisper, the sloe gin fizzes,
540
00:38:47,541 --> 00:38:50,863
under the music pumping from the jukebox.
541
00:38:50,901 --> 00:38:52,903
The light,
542
00:38:52,941 --> 00:38:54,750
your body a green light.
543
00:38:54,781 --> 00:38:56,783
The boys danced, darling.
544
00:38:56,821 --> 00:38:58,823
Touching you indiscreetly.
545
00:38:59,861 --> 00:39:01,863
Dancing, on the edge of fire.
546
00:39:02,861 --> 00:39:04,750
Your voice, falling from the air.
547
00:39:05,501 --> 00:39:08,505
Elation and laughing.
548
00:39:09,301 --> 00:39:13,545
I saw you last night in the basement...
of the Brass Rail.
549
00:39:19,061 --> 00:39:20,870
(Door is forced open)
550
00:39:20,901 --> 00:39:22,710
♪ House
551
00:39:45,101 --> 00:39:47,388
We've got a great mix of techniques here.
552
00:39:47,421 --> 00:39:49,423
We're on a crane, we're hand-held...
553
00:39:49,461 --> 00:39:50,826
static...
554
00:39:50,861 --> 00:39:52,943
cutting through to previous images.
555
00:39:53,861 --> 00:39:56,387
It's a great kind of collage of stuff, really,
556
00:39:56,421 --> 00:39:59,106
this last sequence
that you put together with the editor.
557
00:39:59,141 --> 00:40:01,348
I think when we were editing this sequence,
558
00:40:01,381 --> 00:40:05,272
I was very much thinking about
Eisenstein's montage of attraction,
559
00:40:05,301 --> 00:40:08,032
and thinking about
how you can try to make a statement
560
00:40:08,061 --> 00:40:11,622
through the juxtaposition of different images
which are quickly edited.
561
00:40:11,661 --> 00:40:15,347
There are all these sons of ideas
that one's trying to play with.
562
00:40:15,381 --> 00:40:22,071
You're playing with these ideas in a culture
which is not so interested in these strategies.
563
00:40:25,781 --> 00:40:27,783
Just going back on that last scene,
564
00:40:27,821 --> 00:40:31,348
the last scene is almost a classic
confrontational Western situation -
565
00:40:31,381 --> 00:40:33,588
a group outside who are trying to get in,
566
00:40:33,621 --> 00:40:38,548
and a group inside who, in theory, might want
to get away, or not be there when they arrive.
567
00:40:38,581 --> 00:40:42,108
S0 one would be normally cutting backwards
in a very narrative way,
568
00:40:42,141 --> 00:40:44,872
and building up a tension
to a final confrontation.
569
00:40:44,901 --> 00:40:47,711
But Isaac does
a completely different thing here.
570
00:40:47,741 --> 00:40:50,551
He layers it with all sorts of other stuff going on.
571
00:40:50,581 --> 00:40:52,583
And, in fact, just works against that -
572
00:40:52,621 --> 00:40:54,669
does build it up, and you do worry.
573
00:40:54,701 --> 00:40:59,229
One does worry about whether these people
are going to be all right or not who are inside.
574
00:40:59,261 --> 00:41:02,390
But it all just goes off
into a completely other dimension,
575
00:41:02,421 --> 00:41:05,948
and there's that fantastic shot
of one of the angels laughing at the end
576
00:41:05,981 --> 00:41:07,585
and bringing in Langston Hughes.
577
00:41:07,621 --> 00:41:12,548
ll ties it up and takes it to a completely different
place than one would expect it to go to.
578
00:41:12,581 --> 00:41:15,664
It's interesting to think about film
as a technology.
579
00:41:15,701 --> 00:41:19,945
I'm thinking about the technicality
in terms of shooting this piece of work,
580
00:41:19,981 --> 00:41:24,111
and what may look like almost special effects
in this sequence.
581
00:41:24,141 --> 00:41:25,950
It's storyboarded,
582
00:41:26,621 --> 00:41:33,152
and we're thinking about the ways in which
we can try to create a scene through montage,
583
00:41:33,181 --> 00:41:35,183
radical montage,
584
00:41:35,221 --> 00:41:42,105
and building this narrative expectation,
this tension, this possible violence,
585
00:41:42,141 --> 00:41:47,864
and then not delivering the normative
expectations that one would ordinarily receive
586
00:41:49,061 --> 00:41:52,065
from such a sequence in its ending,
587
00:41:52,101 --> 00:41:54,832
and deliberately second-guessing
the audience,
588
00:41:54,861 --> 00:42:02,063
and doing that by actually
trying to then evoke a poetic conclusion,
589
00:42:02,101 --> 00:42:03,865
or ending to the film,
590
00:42:03,901 --> 00:42:07,110
and playing really
with those narrative expectations.
591
00:42:07,141 --> 00:42:11,544
And some people have said, "Why do you have
an angel that's laughing at the end?"
592
00:42:11,581 --> 00:42:16,303
The angel's laughing at the end, because
really it's about the phantasmatic for me -
593
00:42:16,341 --> 00:42:23,031
you have one society that produces fantasies
about what the other might be doing.
594
00:42:23,861 --> 00:42:30,392
And it's precisely that idea of the real power
of fantasy or the phantasmatic,
595
00:42:30,421 --> 00:42:34,665
and having an end
where the subject has the last laugh,
596
00:42:34,701 --> 00:42:39,229
and we have the return to Hughes
reciting the poem.
597
00:42:39,261 --> 00:42:41,263
"..On the edge of fire..."
598
00:42:41,301 --> 00:42:43,827
And really thinking about film as song,
599
00:42:44,621 --> 00:42:49,946
we have a contemporary representation
of a song called Can'! You Feel It,
600
00:42:49,981 --> 00:42:52,985
which was a very specific gay...
601
00:42:53,021 --> 00:42:57,310
or specifically black iconic song,
602
00:42:57,341 --> 00:43:01,744
which represented house music at that
particular time, which emanated from Chicago.
603
00:43:01,781 --> 00:43:06,309
And this song is a son of anthem, if you like,
of that moment.
604
00:43:06,341 --> 00:43:12,587
And in this sequence, then,
you're also contemporising the past,
605
00:43:12,621 --> 00:43:14,703
deliberately blurring it,
606
00:43:14,741 --> 00:43:20,032
with this introduction
of what would become a scene
607
00:43:20,061 --> 00:43:23,861
which, in a way, plays with time and space.
608
00:43:23,901 --> 00:43:27,587
Yeah, and that angel goes beautifully
into Langston's final lines.
609
00:43:27,621 --> 00:43:30,465
This ending has this deliberate play.
610
00:43:30,501 --> 00:43:32,105
'Cos in a blues song,
611
00:43:32,141 --> 00:43:36,624
usually what happens
is that you have the artist or the song
612
00:43:36,661 --> 00:43:39,551
being about a character
that's down on their luck.
613
00:43:39,581 --> 00:43:41,663
But there's usually a joke at the end,
614
00:43:41,701 --> 00:43:48,664
and so that joke is usually reflected in having
a certain self-reflexivity about your situation,
615
00:43:48,701 --> 00:43:51,022
and looking at that position ironically.
616
00:43:51,061 --> 00:43:54,463
And so there was this idea of trying to do that
for the ending,
617
00:43:54,501 --> 00:43:58,790
and deliberately playing with those normative
or narrative expectations
618
00:43:58,821 --> 00:44:00,903
that the scene was trying to build up.
619
00:44:01,941 --> 00:44:03,943
Sun's a-risin'.
620
00:44:03,981 --> 00:44:05,710
(Music starts up)
621
00:44:05,741 --> 00:44:07,743
This is gonna be my song.
622
00:44:09,221 --> 00:44:11,223
The sun's a-risin',
623
00:44:11,261 --> 00:44:13,263
This is gonna be my song.
624
00:44:14,301 --> 00:44:15,905
I could be blue,
625
00:44:15,941 --> 00:44:18,751
But I've been blue all night long.
57447
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