Beatrice Gibson. Interview – Karl Marx and Composition | DOUBLE FEATURE | SCHIRN

the market is nothing more than a construct of the mind it’s simply the name we give to the fundamental human impulse we have to deal with one another welcome Jeffery’s your favorite thank you we are here in the middle of the finance sector in your last film that we will see tonight crippled symmetries so there are two people that are talking to each other in a urban situation yeah so that is a banker and a composer and they’re essentially having a discussion about abstraction in their respective field so that is kind of comes out of William Gaddis who is a modernist author writing in the last 50 60 s jr. this novel ISM it’s a great satire American capitalism turned upside down so the protagonist is this 11 year old boy and he amasses this vast empire through penny stocks that he controls largely via the payphones so kind of anonymously with a muffled you swing over the receiver for nobody understands you the child and eventually this Empire kind of spirals into insanity and everybody whose life is turned to dust particularly a lot of struggling artists who are swept up in its web and one of them who the the other kind of primary character in the novel is a composer and the school’s kind of in-house resident modernist composer service industry starts with two phases and the beginning with the face of George and the end of the phase of the composer and they’re both performing and this musical score could disappear immediate face and the instructions of the score are smile very loudly and then very gradually over the Senate area time stop smiling and he does that scoring he does it amazingly I think but and but only in initially I had an idea that he would and that I would set up maybe more complicated conversations between him and the composer and didn’t really that doesn’t really unfold yes yeah who didn’t have thought about replacing him with another kid or what he has too late down and picked on too far down a particular route yeah I think my what is good about the way I make sounds and was bad by the way most answers I’m very rigorous and faithful to my process yes and sometimes they fail and sometimes it’s great like sometimes it’s you know it’s wonderful well then so the film that I made crippled symmetries take some of the in a way it’s an addict we’re not really an adaptation of the book it kind of takes the plot and the characters of the book as a sort of scoring device for a production so I worked with a real composer I worked with a real class of 11 year olds and it took some of the situation’s in the book and kind of set those up in the real world to see kind of what would unfold when you bring together in your film that’s idea from the novel from Gaddis at the same time a Europe contemporary music course where it’s also more the idea of something that could come together like music and the finance system yeah I mean ah all of my films are like have been historically very interested in modernist composition as a as a trope or like looking at it as a as a method for making for making for producing so I was always interested in the relationship between ways of making music and ways of making film and it’s always kind of shifting if you note I mean and I think what’s interesting for me is that it’s never really resolved and and the film however all like this strange tension between I guess the intention of something that’s more radical politically but then like in the Edit I’m really trying to regain control to be completely like a despot and like kind of really control the chaos that I’ve Unleashed or this kind of the more democratic or egalitarian forces let’s say that I’ve allowed to play out and there’s all that all of the films are in some way a discussion between control and and chaos or the individual and the collective maybe filmmaking for me is an inherently collective process and so there’s also to explore that a little bit more we are kind of explicitly and politically beyond the idea of a director maybe two I’m going to cut the idea of the director a little bit yeah but then I say that but then now the last film I made I just I also I experienced extreme frustration for light at the moment I feel like the next film I want to make I just I just want to tell everybody what to do exactly and for them to just do it I don’t I’ve had enough of your life where you’ve actually so it’s always the terrain is always shifting and yeah yeah on the one hand you’re you’re reading stuff that’s influenced the way how you you film you make productions and since there is an ongoing reading um like on the outside of your film there is not a fixed rate or a fixed kind of idea it starts with that point and it ends here yeah I mean it’s the the message is shifting a bit so sometimes there is no script at all there’s just like in crippled finishes for example there is this scenario so I tried to recreate from the novel but using real characters in real situations so that what I’m looking at is not simply a reference but also method I’m not just looking at these compositions and as a subject but also deploying some of the logic and how the films are made yeah how do you come to those compositions or composers how do you how do I encounter them that that there is something that these composers have in common with your questions or is it that you’re fascinated by a bit more that yeah I come across something that moves me in terms of its intention maybe or what it’s trying to do or even the shape of it we look and so it’s not so much of a jump to go I think from experimental composition to go to writing like Gertrude Stein or poetry like Eileen miles because in in some way the formal throats are connected right like the like poetry in general I suppose as a as a genre is like massively open-ended in terms of how the viewer experiences the reader experiences it so it has an ambiguity built into it because it’s not linear narrative right it’s some more poetic so I read one thing you read another and that’s very connected to the compositions that I’ve been looking at an experience of them both playing them but also listen listening to them I guess yeah I have in the past on quite a lot of like heavy theoretical research I guess or I want my films to be [Music] theoretically informed I suppose but I don’t want them to be I never want to make a film in an argument yeah that isn’t that is an F oh yeah it should be a much more the word alaikum perceptual screen or yeah yeah and the character of the child allows you to model that all up right make it a bit messy in a bit chaotic in a bit non rational in a bit and in a bit of an aunty essay in a way yeah we did it great and screening at the BFI I feel like whenever I show couple cemeteries I should bring all the trip because all the kids were there in the audience and then we did a Q&A afterwards and they were really funny because they were all really hot like a hard on me and so it looks like I’m the Boy George he was speaking about is the shot of his basically before me you’re a very dissipated I see I liked it but can you cut it earlier wouldn’t you call so it was this was kind of them I don’t know was kind of great to have them there like expanding the that contact somehow without that feeling young thank you very much welcome for having you here and yeah see you again tonight thanks

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