I love animation. I loved the drawn stop-motion animation Rosie Wyllie used in our Inscape films. I also can’t draw! So what can I do with a whiteboard and my very limited abilities as an artist?
The images for Edgewise came at the end of 2020 and far, far too many video calls – during which I became very accustomed to and very depleted by being talked over by other people.
There are fascinating things about exploring a new creative medium. There’s the freedom: “I can suck all I like at this and it doesn’t matter at all!” And there’s the discovery: “my hands have developed their own brain and are bypassing my plans as I go!”
The soundtrack was created by studying recordings and then imitating the speech of very confident or aggressive speakers, then mapping the speech patterns to midi. I used VariAudio in Cubase to do this second part, and it worked well. I mapped it onto a pretty basic and waffly-sounding patch and built the rest of the music around that.
This is the very beginning of our journey as a production company.
We would love for you to join us on that journey. There will be a £1 per month tier coming very soon, as well as more in-depth discussion about Roots and the extensive research that our writer, Catherine, undertook over two years, to produce her remarkable poem-script.
I will also be posting some content that delves into Suspended.
“Sparse, shrunk-down to pain and black and white …” (5:25)
“… I always think of a sharp pain as a flash of white … vixen screams … tendril things …” (5:35 – 7:34)
“… ney flute … warm sheen … when the son is crossing the son is crossing the river …” (7:50 – 9:26)
“virtual synth patch from the beeping alert [of the dialysis machine] … continual merging and changing … never a point of conclusion …” (10:05 – 11:04)
“… the click click click sound – I was trying to compare it to an old fashioned shutter slide, as a new chapter begins …” (10:40 – 11:14)
“… the piano was being a tolling bell quite a lot, going ‘dung dung dung’ in the low notes …” 🙂 (11:30 – 12:24)
“the main theme … derived from me trying to reflect … where Rosie’s drawing the dialysis machine with lots of wires and strings … that ‘stringy‘ tune, the twining, wind-y, rising and falling intervals of a 6th …” (12:25 – 14:05)
“… that’s not the sort of thing you normally get to do … to be able to generate the opportunities for the sound to tell the story … with the prison sequence, it’s so dark … but you can hear an awful lot of the prison …” (15:12 – 16:23)
“… [the kestrel sound] introduces a real note of panic … the whole feeling of fear comes across very strongly in that scene …” (16:45 – 17:05)
“… almost a kind of amnesia to the film, with these repeated sequences … the daughter at school, the son in prison … it feels like someone trying to grapple with different memories …” (18:50 – 19:55)
“… a series of deliberately ambiguous sounds … the fact that he was living in both past and present at the same time … the sound of the pouring coffee became the rain in the gutter … the rain led to thunder, which turns out to be a bomb, so back in his memories in Syria again … one big plane of existence, nostalgia and present day suspended reality …” (19:55 – 20:25)
“… that British scene of people rushing past buried in their mobile phones … perhaps all our lives are suspended …!” (21:30)
“One of the most powerful bits is how long we sit on his face as he watches his son get hurt … I fade in a bit of the original speaker … it was such a sad room, there was so much heaviness … and I feel that comes across in that little snippet of audio …” (23:00 – 24:54)
“… the final sequence … in Rosie’s images and in the more emotional music than we’ve had, this is our – hopefully quite tactful – comment: we’re saying, “this is how we feel about it” …” (25:00 – 27:38)