The first time I saw this little girl’s image in Robert Mapplethorpe’s Certain People, I felt a shock startle me. I hesitated, but briefly, and then I turned the page. But the image stayed with me; haunted me. The way she appeared in my mind was provocative: she had pulled aside her dress and was flaunting herself to the camera.
Overcoming procrastination, I headed to St Peter’s House Library today and imported all the footage from the MiniDV tape to my network space in the computer pool. I chose not to use Final Cut Pro, which wouldn’t start up. It didn’t recognise that the video recorder was attached to the rather lovely iMac I was using (dear universe, I would like an iMac. One of the older white plastic ones with a white keyboard and wireless mouse and speakers and remote control. In return I promise to serve you in the best way I can). I used iMovie instead and, after I fiddled about with the wire, it “saw” the video camera and imported the footage. I sat there for just over an hour, watching the footage as it transferred. That helped me get to know the shots a little better. Being a newbie to iMovie, I watched some YouTube tutorials to help me in the next step of pulling out the bits of film that were chosen at random the other day. Looks pretty easy to use. I’m looking forward to the edit.
On the sticker on the back of my bluetooth keyboard that allows me to touchtype when using my mobile phone are some words of wisdom: Operation is subject to the following two conditions: 1. This device may not cause harmful interference, and 2. This device must accept any interference received, including interference that may cause undesired operation. I laughed out loud when I read it. It’s true that in order to feel okay one must accept the harmful interference that happened in the past.
http://sciencesoup.tumblr.com/post/26870917512/what-does-space-smell-like-its-strange-to-think I love this article. Late night visits to the kitchen to make toast generate that smell of hot metal as the element heats up, clicking occasionally. It never occurred to me that there might be a smell in space. But it makes sense. In October, when the air cools down, I can smell the cold. It brings a sense of foreboding: a need to take care of the draughts in my flat before they eat up my heating and cost me and the earth pounds of damage. This year I’m intending to make draught excluders for my doors and windows from old pillows and quilts.
One of my favourite ways of working is to bring chance into the equation. So yesterday I logged the pieces of film I’ve been taking since May 2012 and numbered each logged piece: from one to twenty four. I wrote each number on a tiny piece of paper, folded up the pieces of paper and put them in a plastic cup. Shaking the cup, I drew a piece from it: two; I shook and drew again: twenty; and again: twenty three, and so on. I now have seven pieces of film to put together to the soundtrack of In The Shadows.
Electrick Children is Rebecca Thomas’s first feature film and the one they “wouldn’t let” her make at film school (interview with Thomas shown before the Slackers Club preview at Duke of York cinema last Thursday). It’s a quirky story that unfolds around the main character’s belief in immaculate conception.