Made as a part of my residency in Dunbar, Scotland for North Light. For this film I’ve used John Muir’s words as a starting point: my film is an interpretation and carries these words to a different place. All footage was shot during my time there; the poet John Glenday was kind enough to read a passage from John Muir’s autobiography and composer Luca Nasciuti created a soundtrack which fits like a glove.
Thanks to Creative Scotland.
The November selection from Motionpoems is by their co-founder Angella Kassube, and I think it’s one of the best they’ve ever made. The minimalism here really works for me, in part perhaps because I like Dean Young‘s poem so much. The soundtrack (by Carly Zuckweiler) is a perfect match to Tim Nolan’s reading.
Good to see a major player in American poetry film use a reading from someone other than the author. It’s kind of surprising to me that poetry film makers rely so heavily on poets’ own readings, given that all too often we are the least inspired oral interpreters of our own words.
Fallow Field is a poem by Scott Edward Anderson, from his brand new eponymous collection. It’s been a pleasure to make a Filmpoem for a friend and this harks back to my earlier work, motifs I explored and delighted in a number of years ago which suit Scott’s incredible words.
Scott’s collection Fallow Field is available from Aldrich Press, Amazon and scottedwardanderson.com.
Of the various blurbs on the website, I particularly liked this one:
“Wow, Pop, I had no idea you wrote so many poems!” – Walker Anderson, the author’s 10-year-old son
Nic S.’s latest poetry video is especially noteworthy for its soundtrack, which blends the voices of four different LibriVox readers to great effect.
Some weeks ago we’ve had a thunderstorm at night. I recorded it, added some sounds and improvised piano…
For some reason I thought about the recording of ‘Oir’ Luisa sent me earlier. I combined them all and forwarded the result to Luisa.
I very much love the broody thunderstorm background and the improvised piano. I like the sound of rain very much. A hard rain on tin roofs is a particularly strong memory trace I have from my growing up in a tropical country. Anyway, for me rain has the capacity for both amplifying and muffling/softening the atmosphere. It’s full of emotional portent,
Luisa also gave me the idea of using ‘café-ambient’ noises and provided me with some insights about the poem;
…but in part the poem is partly triggered by a conversation I had in a cafe. We talked about work, creative nonfiction essays, family…
As usual the cafe was crowded and noisy. it struck me then but perhaps more afterward, when I was writing the poem, that in the spaces that teem with so much everyday life, activity, business as usual, we strive to hollow out spaces for the intimate to be enacted and reenacted.