An Interview In 12 Parts. Part 9: The Kingdom Of Shadows

The Kingdom Of Shadows (2016, Daniel Fawcett & Clara Pais) 07

Here is Part 9 of our year-long interview which is being conducted by Bradley Tuck as a part of our artist residency at Exploding Appendix.

In this month’s instalment we discuss our feature film The Kingdom Of Shadows (2016), our personal reworking of the Adam & Eve story inspired by dreams, family history & silent movies.

“As this film deals with origins it is on one level a personal exploration of our own origins, our own childhoods and particularly our family history, dealing with the stories of our ancestors and the communities we grew up in, and unpicking how our psychological condition is shaped and influenced by these things. We asked ourselves what do we carry from the past that restricts us in the present and how can we release ourselves from these things, how can we break the curses that cast shadows over our lives.”

“In our film it is almost like every character is simultaneously a ghost and is haunted by something or someone, the house itself is haunted by the family as the family are haunted by the house. Everyone and everything here is possessed by something.”

Read the full text:
An Interview in 12 Parts. Part 9: The Kingdom Of Shadows

Many thanks to Exploding Appendix’s Bradley Tuck for his ongoing support and collaboration!

Daniel & Clara
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An Interview In 12 Parts. Part 8: In Search Of The Exile

In Search Of The Exile (2016, Daniel Fawcett & Clara Pais) still 07

Here is Part 8 of our year-long interview which is being conducted by Bradley Tuck as a part of our artist residency at Exploding Appendix.

In this month’s instalment we discuss our film In Search Of The Exile (2016), while shooting off onto various topics, including sound design, the relationship between painting and cinema, the differences between experimental film, video art and arthouse film, plus lots more!

“If our films can be an opportunity for a kind of experience in which each viewer’s imagination can be activated somehow, become aware of themselves, of their perception, their expectations, their thought processes, their feelings, their senses – and in that moment to be alive, engaged and creating their own meaning – then we’re happy.”

“The effect of sound is very physical and, in cinema, sound can be even more effective than the image in grounding our experience, it has an immediate visceral impact that tells us where we are, what the space is, and how things are spatially related to us. We like to experiment with this and have been exploring the various possibilities of how image and sound can interact. With the films of this period we were interested in using sound to create a first person experience for the viewer but not always one where they are entirely sure what they are hearing, we like to create unexpected associations between image and sound, disruptions and discontinuities that make the audience feel something that goes beyond an experience of just eyes and ears, it is activated in their bodies then expanded upon by their imaginations.”

Read the full text:
An Interview in 12 Parts. Part 8: In Search Of The Exile

Many thanks to Exploding Appendix’s Bradley Tuck for his ongoing support and collaboration!

Daniel & Clara
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Into the MothLight Podcast Interview

Into The Mothlight Podcast - ep.10 Daniel & Clara

Earlier this year we were invited by Jason Moyes to be interviewed for Into The Mothlight podcast, which is dedicated to artists’ moving image, experimental film and installation art in the UK.

As we were unable to meet in person he sent us a list of questions which we recorded our answers to. Topics include our collaboration, mythology, dreams, cinema, performance and our personal thoughts about contemporary moving image making.

Listen here: https://tinyurl.com/yaeqey7j

Thanks so much to Jason for inviting us to take part in his fantastic podcast!

Daniel & Clara
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An Interview In 12 Parts. Part 7: The Quest For The Cine-Rebis

THE QUEST FOR THE CINE-REBIS still

Here is Part 7 of our year-long interview which is being conducted by Bradley Tuck as a part of our artist residency at Exploding Appendix.

In this month’s instalment we discuss our film/manifesto The Quest For The Cine-Rebis (2016), while shooting off onto various topics, including artist manifestoes, Arthurian quests, alchemy, creativity, feet and shoes, the politics of film funding, spirituality, gender and more!

“For us the title of a film is like an egg that can be opened and inside you can find the entire universe of the film, if you could somehow ingest the title then the film would play in its entirety within your mind and you would know it throughout your whole body. In our work a title nearly always comes at the very beginning of a project, it guides us strongly through the forming of the film. From that short couple of words we are able to unravel the core purpose of the production. Sometimes our titles totally baffle us but we stick to them anyway and trust in them to guide us through the creative process. They are instinctively chosen, so they have a wisdom that is beyond our conscious mind, it is so fascinating to speak with them as if they are characters and learn from them. The Quest For The Cine-Rebis is a very direct title, it offers the three central motifs essential to this work: the mythological quest, the alchemical work and the medium of cinema.”

Read the full text:
An Interview in 12 Parts. Part 7: The Quest For The Cine-Rebis

Many thanks to Exploding Appendix’s Bradley Tuck for his ongoing support and collaboration!

Daniel & Clara
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An Interview in 12 Parts. Part 6: FILM PANIC Magazine

Daniel Fawcett & Clara Pais

Here’s Part 6 of our year long interview which is being conducted by Bradley Tuck as a part of our artist residency at Exploding Appendix.

In this installment we discuss our publication Film Panic Magazine, the ins and outs of our writing process, some key books that have influenced us, and the many contemporary artist filmmakers we have interviewed including Rouzbeh Rashidi, Gurcius Gewdner, Hooroo Jackson, Toby Tatum, David Finkelstein, Sarahjane Swan & Roger Simian, Marnie Weber, Scott Barley, Atoosa PourHosseini, Janja Rakuš and Susu Laroche.

“Creative work has its own authority and we are not interested in illustrating any particular theory or anyone’s ideas, not even our own, sometimes the films themselves do not necessarily illustrate our film philosophy, they might even contradict or expand it beyond where we had previously reached with words. Our writing is always an attempt to catch up with ourselves, understand what we are doing and find clues of where we might be heading next.”

“The magazine will no doubt continue to transform and we are not precious about where it goes, for us Film Panic is our public journal and workbook, it is a place to gather our research and document the projects that excite us, so as our work as filmmakers evolves the magazine will too, and it could take us anywhere!”

Read the full text:
An Interview in 12 Parts. Part 6: Film Panic Magazine

Many thanks to Exploding Appendix’s Bradley Tuck for his ongoing support and collaboration!

Daniel & Clara
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Daniel & Clara On Collaboration – Interview by Avant Kinema

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We have recently been interviewed by our good friends Scottish filmmakers Sarahjane Swan & Roger Simian of Avant Kinema. In this interview we cover some details about our backgrounds and how we began making films, but the main theme of the conversation is collaboration. We dig into the ins and outs of being collaborative artists and offer some personal insights into what collaboration is for us.

Thank you so much to Sarahjane and Roger for the wonderful questions and taking the time to speak with us!

Here’s their intro:

“As part of a series of interviews and articles on processes of Creative Collaboration, we spoke to our friends, Daniel Fawcett & Clara Pais, who create lavish, startling, dreamlike, unsettling, wonderful feature films and shorts under the banner of The Underground Film Studio. The duo are also behind Film Panic magazine, the definitive journal of contemporary underground and experimental cinema.

Daniel & Clara are two of the most industrious, creative, innovative, genuine and generous people we know. We had the pleasure of first meeting them in February 2017 when they invited us to screen our short film, Orphine (2014), in the beautiful city of Porto in Northern Portugal. They were perfect hosts for the three days we visited with our son, helping find us free accommodation, showing us all around Porto, Gaia and the seaside town of Espinho where we collaborated on an impromptu Surrealist black & white Super 8 film, starring Daniel & Clara, which we entitled, In The Arbor of the Bitter Orange (2017).

Soon afterwards, Daniel & Clara came over to the UK for a short British-wide tour to promote their films. All four of us put on an event, MoonMoths at the MacArts Church, in Galashiels, an Avant Kinema / Film Panic co-production, which featured experimental short films, comedy and music, plus a special screening of Daniel & Clara’s first collaboration, the feature Savage Witches (2012). A couple of days later we put on a double bill screening of work by all four of us at Edinburgh’s Vegan-friendly arts cafe, The Forest.

Being life-long aficionados of the art of collaboration we thought that Daniel Fawcett & Clara Pais would be ideal subjects for our investigations into Creative Collaboration.”

READ HERE

An Interview In 12 Parts. Part 5: Splendor Solis

SPLENDOR SOLIS 2015 Daniel Fawcett

Here’s Part 5 of our year long interview which is being conducted by Bradley Tuck as a part of our artist residency at Exploding Appendix.

In this installment we talk about the making of Daniel Fawcett’s Splendor Solis, exploring subjects such as home movies, alchemy, tarot, narrative structures, autobiography and filmmaking as therapy:

“These are my inner images of myself manifested through others, through my relationships – people become symbols, as do places, animals, objects, sounds, music and everything else in the film. It could maybe be called a psychic self portrait rather than a home movie but then again in the universe of our work the image of the home is always a metaphor for the self so it results in the same thing.”

“The film is a retort, the footage is the material with which I work but ultimately that material is an externalisation of inner work, it becomes something I can see and physically manipulate, explore and transform, and through doing so, allow deep psychological changes to take place within myself.”

Read the full text:
An Interview in 12 Parts. Part 5: Splendor Solis

Many thanks to Exploding Appendix’s Bradley Tuck for his ongoing support and collaboration!

Daniel & Clara
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