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Hello Toon, we are now in the sculpture of Philip Metten,
near a movie of yours.
How did it come into being?
That is a long story...
I have known Philip since we were teenagers,
he was a friend of mine. We went to the academy together.
I know Philip for a very long time,
so I'm also familiar with Philip's work since early on.
At a certain moment he chose the artworld,
and I became a director, but we always stayed friends.
Philip has always said we should work together some time.
We did that for the first time, three years ago,
with Noise of Quasar in SMAK museum.
That turned out really well.
Philip was very pleased with it, and so was I.
And when this movie, this project came up
Philip immediately thought of me as a director,
together with the other artists he asked.
And that is how this project came into being.
Did you decide everything yourself
or did Philip make the scenario?
How did the cooperation proceed?
He gave me pretty much carte blanche.
Philip just gave me some elements to work with,
and of course I knew Philip's work already...
I have always followed it, so I understand what he does.
I know his references, I know his work and the images he works with,
so I understand that very well.
And especially since the previous cooperation,
the whole process is rather intuitive.
Philip's way of working is very organic and spontaneous,
which I find very interesting.
He isn't worried to let the other artists do their thing,
because he invites them for a reason, I presume.
So he radiates a sort of confidence towards everyone he works with...
He actually wants to know as little as possible about it...
Because with this movie he wanted to be completely surprised
by the end-result and he really gave me carte blanche.
What is the meaning or the content of the movie for you?
... Very difficult to sum up.
Well, I am very aware of the function of film.
I often talked about it with Philip from early on.
I knew very well how the exhibition would work.
In the end Philip transformed the outside...
So the inside also has a very important function.
What is shown there...
There is this sort of labyrinth by Tom,
with Tom's patterns and my film,
so the film indeed has an important function.
So I was very aware of that.
And just like the previous time with Noise of Quasar,
I also saw the film as a kind of summary of the whole,
a kind of distillation of all different elements that Philip plays with.
And I tried to join them as well and as summarized as possible.
But at the same time it had to be an experience in itself.
The film has its own autonomy, has its own function.
It's also a work in itself,
but I tried to visualize those elements as powerful
and concise as possible in the film.
The music of Aldo and Dave also played a very important role in this,
I should mention that explicitly.
Because the music was actually the most important guideline for me.
In the end Philip gave me Aldo and Dave's soundtrack,
and it all evolved from that.
The music has lead me to where the film should go.