Yesterday my friend went to a Savages concert and came back with an album with this dialogue on the cover, from Opening Night, John Cassavetes:
The world used to be silent
Now it has too many voices
And the noises are constant distraction
They multiply, intensify They will divert your attention from what’s convenient
And forget to tell you about yourself We live in an age of many stimulations If you are focused, you are harder to reach
If you are distracted, you are available You are distracted, you are available You want to take part in everything And everything to be a part of you Your head is spinning faster at the end of your spine Until you have no face at all And yet if the world would shut up, even for a while Perhaps we will start hearing the distant rhythm of an angry young tune And recompose ourselves Perhaps having deconstructed everything
We should be thinking about putting everything back together
INTRA is the story of the last days of three assassins: Bruno, Sophie and The Girl. Three lonely souls coexisting in their isolation where the search for love is the only remedy. Set in an unspecified future and structured as a long flashback, the film takes place during the week prior to the team’s last job. In their shared apartment, tension mounts as the three characters come to conclusions about their dead end lives.
Intra (once 3.0) is finally done and on its way to festivals. After the BAFTA screening, is time to update new pictures of my contribution to this project where I worked as production and poster designer.
>>>>>>>CROWD FUNDING for 3.0 !! come here and find out how to collaborate, it’s very easy! THANKS A LOT!>>>>>>>
A few of the props we’ll have for 3.0
And these ones below have nothing to do with the film as our assassins don’t use any kind of phone so they won’t get caught. Although, a whole corridor full of telephones is a quite exciting landscape!
What is fascinating is that radio frequencies in those isolated places are amazingly rich, due to the military, due to the late reflection of SW signals, and of course due to the position in the geographical sense and isolation. Of course there is a myth that accompanies all these theories about being able to listen to natural phenomena and atmospheric reactions in VLF frequencies. I am not a scientist, that is why that doesn’t worry me, I believe in it.
For instance, in Borealis, a Fieldwork I shot in the tundra in Siberia, I recorded an aurora borealis with very low VLF signs, the sound was so beautiful and so synaesthetic on that special moment that it was a revelation, that responded in my mind to what I was seeing, whether that was the sound of an aurora borealis or not it is not important, for me it was, it was at that instant. That is what is magical about using radio frequencies, there is a certain ghostly and ethereal relation with the image. Somehow it is directly connected, sometimes it is magic…
Like in Smoke, another Fieldwork I filmed in Patagonia, where suddenly an AM programme started to transmit a tango classic at 4AM that was somehow filling the atmosphere too, in amazing ways. Of course I felt it so close to the image I was filming that it was somehow directing it, which brings me back to my collaboration with Phill Niblock that I will speak about later…
Is all this work about the sense of loneliness and alienation that can emerge, perversely, in an era in which we are all connected all of the time?
It is interesting that you speak about alienation because it is probably the key to understand both ends of the equation. Somehow it is a certain necessity to this alienation in order to activate something again, to understand some things we have lost, some things past, forgotten, and also a certain alienation in terms of subject, meaning that also because that extreme connectionness of the present, that this work is relevant. It alienates the spectator…
