“For some people this is a vampire film, for some people it is a fairy story, and for other people, its a documentary.” (Tilda Swinton)
“Vampires, you know why are we so fascinated by them? I suppose because they live these long long potentially never ending lives. And we’re all so terrified of thinking about mortality that we’d rather think about being immortal. And something about the way they live in the kind of wainscoting of life, you know they’re in the back waters. And one of the things that I love in this film is the idea of invisible lives, invisible work, you know unclaimed work, that feeling of making work and not wanting it to go out into the world but just putting it out into the ether somehow. I think that whole idea of invisibility and yet existing is really beautiful…it feels like a very natural state, this invisible immortal world.” – Tilda Swinton
Tilda Swinton’s character in The Limits of Control has a line, “Movies are like dreams you’re never really sure you’ve had; sometimes my favorite films are the ones where people sit there and don’t say anything.”
Some movies tell stories. At one point in my life I fell in love with the idea of how movies tell stories or at least different types of stories. When I discovered European cinema and movies from Japan, they opened up whole new worlds for me. Because I loved them so, I thought it might be a way for me to express myself creatively. I discovered that I am not a good story teller. There is some disconnect between the story in my head and how the idea gets translated onto film or onto paper. I can’t tell jokes for the same reason. I see the joke in my head but the punch line either comes out of sequence or I forget it all together. It has made for awkward moments at parties, until I realized it was better for me to laugh at someone else’s joke than try to tell one. I appreciate good stories and I love movies that tell a good yarn. I also love movies that have great ideas that inform them and will overlook some narrative shortcomings because the concept behind them appeals to me.
Having said that, when I was exposed to the world of what is referred to as experimental cinema (non-narrative, underground, avant-garde are other labels) the experience of watching them was more akin to reading poetry or being in a dream. Many of them opened up an inner world, sometimes wondrous, other times frightening, using different means to also tell a story, sometimes an ‘alternate’ narrative or sometimes to tell no story at all. There is a diverse universe with many voices in the film world, narrative and non-narrative alike – as there are in all the arts. I must admit that I find myself at home with many of these non-traditional artists – Jonas Mekas with his film diaries, Stan Brakhage with his multiple experiments with form and intent, Ken Jacobs’ work to change how we experience cinema, and countless others. I enjoy the work of Jim Jarmusch and Terrence Malick as well, two American film-makers who work in the traditional narrative mode but who stretch the boundaries of what it means to be a story teller in this contemporary age. There are countless others to mention but this is not a film blog and there are plenty of writers out there who devote a lot of time and thought into the film-making world. The point of this entry is to try to explain some of my influences and inspirations, biases and inclinations – all of this really for my own benefit to try to see why I create what I do. It is the daimonic impulse I am trying to explore.