The Face of Time - POV - Aarhus Universitet

108 p.o.v. number 13 March 2002
her. And then there's a man following her and he gets snarled up in
all of these things. Things fall on him, and a fight breaks out around
him. The camera just keeps moving on her and on him, so the whole
thing moves constantly from right to left. It's sort of inspired by that
traffic accident scene in Godard's Weekend.
And then this new one was a three-day shoot and a bit more
ambitious. It was done in a theater, and was much more colorful
and theatrical. And actually inspired by Hindu musicals.
What about the editing phase. How long do you spend on that?
This last one will probably take a week. There's quite a lot of work.
It's surprising. You have a lot of choice. To make it work with the
song. I've loved that part of it too, because music is one of my
favorite parts of the whole process of making a film. Working with a
composer, or finding music, or seeing how that works with images.
Music was a big part of my life when I was younger. I played the
cello and guitar. I love that about doing these videos, that you're
working with music, and it's rhythmical. The other thing that's fun
is that it's like I'm exploring ways – like with this last video – to be
more abstract, more stylized, and yet to still have emotion there, and
some truth in the performances. Yet within a form that's really quite
artificial. Those are things that it's hard to do in a feature film. And
yet I think that you can also bring that experience into narrative
films in a way that can really energize them. It's experimentation.
It's good.
You were born in Canada but you moved to New Zealand when you were
fourteen. Considering the size of New Zealand, I think it's quite remarkable
that so many internationally important short films come from there. Do