In June 2011 I learned how to develop reversible colour film. I’d bought a Lomo tank for super8/16mm and E-6 development liquids. I was surprised to see how easy it was, the process even allowed for some catastrophes like not being too precise with liquid temperature or timing, the margin of error was quite wide.
I had two 16mm Ektachrome 100D film rolls, so I loaded the camera and started shooting. Line many other times, my goal was to keep on shooting, editing on camera, taking advantage up to the last metre of film. It’s a way of shooting I feel comfortable with, there’s no hurries, selecting the next thing to film can either take several days or else I can film one scene after another non-stop. This way of filming is kind of like keeping a filmed diary of little things I make happen.
I started filming things I found around the house, a cassette tape, the protective foam for a computer I’d bought, a present from a friend… Objects with no connection between them but that, in several occasions, ended up creating a still life within the same scene. My intention when uniting unconnected objects is creating what I call a Poltergeist shot. Like when in that movie Craig T. Nelson shows the paranormal investigators Carol Anne’s room and all the objects are flying around in the air. Or when Jobeth Williams goes into the kitchen and the poltergeists have put all the chairs on top of the table. I like creating Poltergeist shots, be it piling up records on top of a table to form a pyramid or creating a still life with unconnected objects. The main idea behind a record pyramid on top of a table is that it looks good! I wish I could keep it there all the time, but you can’t keep your house like that…
When I put together a possessed Reagan figure, some peanuts making love and a super 8 cutter, it really makes no sense, I even think that no one will get that the peanuts are making love just because one’s on top of the other, but I’m sure poltergeists would unite all those elements too, no problem!
In a Junior Woodchucks book I found an invitation to film a flower blooming in time-lapse; they talked about oenotheras, they said to wait until 7 pm and then they would open up. It was something I’d always wanted to shoot, but didn’t know how. That Junior Woodchucks book page seemed to me a good instance of the sentence “where there is a will, there is a day”. So I found out that the jasmine I had at home bloomed like the oenothera, at 7 pm, and so I filmed it blooming with a very basic time-lapse consisting in me looking at a watch and pressing the shutter every 40 seconds during 3 hours.
What I like the most in this short-film is the Robocop postcard; somebody sends Robocop a Robocop postcard asking for help, and from then on that person keeps on appearing throughout the scenes while summer goes by. Day by day, during the two months I shot, we can see the person playing table tennis, reading, posing, being aroused, but there’s no danger anywhere, only this very tranquil summer.