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We are absolutely delighted to announce that the short essay-film, Golden Gate, will have its international premiere at the San Francisco Frozen Film Festival on 21 July 2019.

The screening will take place at 9pm in the Little Roxie room at the iconic Roxie cinema in San Francisco – as part of a programme of shorts on Science Fiction and Horror.

OFFICIAL SELECTION - San Francisco Frozen Film Festival SFFFF - 2019

This is especially exciting because MovieMaker Magazine voted Frozen one of the 20 Coolest Film Festivals In the World.

Golden Gate is a short essay-film that comprises clips from 43 experimental and feature films shot on or around the Golden Gate Bridge in San Francisco.

If you’d like to read more about the film, you can check out this essay that director William Brown wrote on his film criticism blog.

The screening takes place during the shooting of our new feature film, Mantis, which is shooting in Collioure and Port Vendres in France, and which tells the story of three young women celebrating the life of one of their late friends.

Golden Gate also recently played at the Film-Philosophy Conference at the University of Brighton on 10 July 2019.

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La Belle Noise premiere at Fest Film Festival
We are very excited to announce that our experimental documentary, La Belle Noise, will have its world premiere at the Fest Film Festival in Espinho, Portugal, on 30 June 2019.

Shot at the Fest Film Festival itself in 2018, La Belle Noise stars Colin Morgan as himself and as a sleaze ball film producer who is at the seaside town of Espinho in order to wreak havoc on the minds of hopeful filmmakers.

la belle noise poster_v008 (cmyk)

Meanwhile, Beg Steal Borrow legend Dennis Chua turns up at Cthulhu, the ancient one from Lovecraftian mythology, who also is in turn to have fun.

Various actors and other filmmakers reflect upon their desire to be involved in film, as well as their relationship with love – and as the film blurs the distinction between fiction and documentary, so it blurs the distinction between signal and noise, suggesting that there is beauty to be found in those aspects of cinema that typically we discard or overlook.

The screening takes place at midnight on 30 June (as it transitions into 1 July) at the Casino. It follows right after Alex Ross Perry’s Her Smell, which is the festival’s closing film.

Other news
These screenings are accompanied by a preview screening of This is Cinema at the Birkbeck Institute of the Moving Image on Saturday 13 July – ahead of what we hope to be a festival run for that film.

This will take place just ahead of the shooting of Mantis, a new Beg Steal Borrow production that will be shot in Collioure, France, in mid-July – and about which we hope to announce more later.

And then there is in August the shooting of Mila Zuo’s short film, Kin, co-written by William Brown, and which stars Frank Mosley, with principle photography taking place in August.

Finally, look out for The New Hope 2, which we hope to complete some time in the autumn!

We are very excited to announce the launch of a crowdfunding campaign for Kin, a new short film to be directed in August by the highly talented Mila Zuo – based on a script co-written by Zuo and Beg Steal Borrow’s William Brown.

The campaign comes on the back of Zuo winning the 2019 Oregon Media Arts Fellowship, sponsored by the Oregon Arts Commission and administered by the NW Film Center.

The crowdfund campaign is being run through Seed&Spark, a site dedicated uniquely to filmmakers. For more information about the campaign – and to donate – check it out here…!

It is only between your help and the award from the Oregon Arts Commission that Kin will get made.

About Kin
Kin tells the story of three 20-somethings who live together in beautiful rural Oregon, passing their time with beer, TV, home repairs, and vague dreams about a better future.

Conversations about love, security, and taste punctuate the film’s depiction of three young adults in a forgotten Pacific Northwest town, as a shy young man is enthralled by the overconfidence of the couple he lives with.

While the men repair their neglected home, the young woman works at a small motel, as Kin builds towards a violent climax, exploring its origins and testing how far audiences can go in their ability to sympathise, identify with, and even forgive characters.

Cast and crew
Kin looks set to feature various actors who are well known from the realms of American independent cinema – and it will be exciting to update people about that as soon as the cast is confirmed.

Meanwhile, the film’s director, Mila Zuo, is best known for her short film, Carnal Orient, which premiered at Slamdance in 2016 before going on to play at a host of other festivals in North America and further afield.

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Mila Zuo preps a new film shoot

The film has since been picked up by online horror distributor ALTER, where Carnal… has thus far received over 77,000 views.

In addition, Zuo’s visual essay Détourning Asia/America premiered at CAAMfest 2019 in San Francisco. The film features and is made in collaboration with renowned Asian-American film director Valeria Soe.

Kin will be lensed by Edward P. Davee, who is an award winning writer/director whose films have screened in several film festivals and art galleries around the world.

His first feature, How the Fire Fell won Best Feature Film at the Seattle Film Forum’s Local Sightings Film Festival and was distributed by FilmBuff.

In 2012, Davee also won the Oregon Media Arts Fellowship as well as additional grants from the Oregon Arts Commission and the Regional Arts and Culture Council. The proposal for his 2nd feature film, Lost Division, won him the annual RACC Innovation award as well.

 

Followers of Beg Steal Borrow will be pleased to hear that our film, The Benefit of Doubt, recently enjoyed two screenings in the USA, including one at the Oregon State International Film Festival in Corvallis, Oregon, and one at East Tennessee State University at Johnson City, Tennessee.

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The Darkside Cinema in Corvallis, Oregon, where The Benefit of Doubt played on 4 April 2019.

Both screenings were accompanied by talks given by director William Brown, with the movie being warmly received.

ETSU Screening

Nick (Nick Marwick) does an impression of Al Pacino for Ariadne (Hannah) Croft) during The Benefit of Doubt – taken at the screening of the film at East Tennessee State University on 10 April 2019.

Many thanks to all those who helped to arrange these visits, including Mila Zuo, Sebastian Heiduschke, Matthew Holtmeier, Chelsea Wessels and Lange. We are delighted always to reach new audiences – wherever that may be in the world.

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A poster for William Brown’s talk on digital cinema and low-budget filmmaking at Oregon State University. Poster designed by Mila Zuo.

Meanwhile, final touches are being put to This is Cinema, which should enjoy one, maybe more, preview screenings in the summer, with editing about the begin on The New Hope 2.

This will take place simultaneous to preparation for a new film, Mantis, which will be shot in the south of France in the summer. Meanwhile, we are also planning towards various films in the autumn and into 2020 – with Beg Steal Borrow regulars and with new blood alike.

William has also just completed the editing of Golden Gate, a short essay-film about the role that the Golden Gate Bridge has played in film history. This will enjoy a premiere at the Film-Philosophy Conference in Brighton in July.

Finally, we are pleased to announce two new posters for Beg Steal Borrow films, both designed by the hugely talented Angela Faillace.

The first is for The Benefit of Doubt:

BoD Poster

And the second is for our experimental documentary, La Belle Noise:-

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Many thanks to Angela for her wonderful work on these!

 

 

So, it looks as though 2019 might be a productive year, as we have just completed – finally – The Benefit of Doubt.

This follows hot on the heals of the completion of Vladimir and William and La Belle Noise, and surely precedes by a short while the competition of This is Cinema and The New Hope 2, meaning that we should have 5 (five!) new feature films to present within the next few months.

A mood trailer for the film can be seen here:-

And hopefully there will be screenings of the finished film to follow (after some preview screenings over the last 18 months).

About The Benefit of Doubt
Made for a mere £4,000, The Benefit of Doubt tells the story of Ariadne, a young woman who travels to Nice in order to rediscover herself after the end of a 10-year relationship.

In Nice, Ariadne meets first frustrated actor Nick and then hedonist nomad Greg, fellow travellers with whom she explores the city and its surroundings, as she learns once again to smile.

In its tale of a lonely woman who encounters a performer and a bon viveur, The Benefit of Doubt is a reworking of the myth of Ariadne, discovered by Dionysos on the shores of Naxos – as famously painted by Giorgio di Chirico.

The film takes visual inspiration from Jean Vigo’s classic city symphony, A propos de Nice (1930), reworking various of the themes that Vigo explores in his classic text (sport, leisure, overlooked workers, the infrastructure of tourism). What is more, the film sees the characters wander around Nice and its environs in a manner that recalls the French practice of flânerie.

Furthermore, The Benefit of Doubt lies tonally somewhere between Eric Rohmer’s The Green Ray and Richard Linklater’s Before Sunrise, while the film also takes in various of the museums in Nice and its surroundings – including the Fondation Maeght in St Paul de Vence.

Ariadne is played by Hannah Croft, one of rising comedienne duo Croft & Pearce, and the star of En Attendant Godard (William Brown, 2009) and The Repairman (Paolo Mitton, 2013). The film also features performances from Nick Marwick, Greg Rowe, Mark Hodge and Lucia Williams.

In addition, the film’s soundtrack includes music composed by David Miller (responsible for the film’s main theme), Amy Holt, Alex Fixsen and Sam Pauli & Reiver.

Regular Beg Steal Borrow cinematographer Tom Maine is responsible for the images of the south coast of France, while the film is written and directed by William Brown, who has made some 15+ no-budget feature films since 2009.

 

 

Just as we put finishing touches to a succession of films, including Vladimir and WilliamLa Belle NoiseThe Benefit of Doubt and This is Cinema, and just before we undertake editing of The New Hope 2, we are delighted to say that #randomaccessmemory has been listed among the best video essays of 2018 in the prestigious Sight & Sound magazine.

Listed alongside work by filmmakers including Jean-Luc Godard and Lars von Trier, as well as among video-essay luminaries such as Kevin B Lee, Catherine Grant, Cristina Álvarez López, Adrian Martin and others, we are delighted that #randomaccessmemory gets a mention.

You have to scroll pretty far down (well, to the bottom) of the article to see where Michael Witt has named the film…. but it is there indeed.

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From Sight & Sound‘s website

If you want to watch #randomaccessmemory, you can do so here (or watch it directly at the foot of this entry).

With regard to the film itself, #randomaccessmemory is an experimental feature that uses all of the smartphone footage that William Brown shot in 2016 in order to offer up an investigation into love.

Filmed in the UK, France, Spain, Portugal, Sweden, Macedonia, Lithuania, Brazil and the USA, #randomaccessmemory looks at art, landscape, moving images and nature to try to understand love.

Loosely based on Homer’s Odyssey (culminating in Ithaca, no less), the film also draws upon the work of authors as diverse as Antonin Artaud, André Breton, Miguel de Cervantes, Luce Irigaray, Molière, William Shakespeare, Sophocles, Oscar Wilde and Virginia Woolf in order to make its argument about the truth of love.

Featuring music from the wonderfully talented Anna Eichenauer and Alex Fixsen, #randomaccessmemory also makes visual references to filmmakers as diverse as John Akomfrah, Hito Steyerl, Kidlat Tahimik, Harun Farocki, Lav Diaz and Apichatpong Weerasethakul, while also referencing other artists like Marcel Duchamp, Pablo Picasso and Tacita Dean.

 

 

We are pleased to announce that our film Circle/Line has a couple of screenings over the coming weeks.

Firstly, the film will play at the University of Zaragoza in Spain on Thursday 4 October at 7pm in Room 05 of the Nueva Facultad de Educación (that is today!).

Secondly, the film will play at the University of Skovde in Sweden on Tuesday 16 October at 10am.

Finally, Circle/Line has also been named as a finalist at the Blow-Up Chicago International Arthouse Film Festival in Chicago, USA.

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This may not necessarily entail a screening – with the films that are to be screened being announced on 16 October.

Nonetheless, the festival will be held at the Gene Siskel Film Center in Chicago on 11 and 12 November.

Naturally, we are delighted to have been included as a finalist in their line-up. And here’s to hoping that we manage to be selected for a screening in one of the great American cities!

First things first.

Pre-production
We are still working on all manner of projects, including a possible sequel to The New Hope, a film about a group of university friends holding a reunion in France called Mantis, and a film about members of a singularity cult who decide to blow up server farms called How to Get Killed in the UK. This is not to mention our unnamed musical project about London’s French community. Hopefully one or more of these will get made in the next few months.

Production
Recently we travelled to Portugal, where we did the principal photography for an experimental film about actors and acting called La Belle Noise. The movie stars Beg Steal Borrow regular Dennis Chua and newcomer Colin Morgan in the lead roles. Alya Soliman and Guy Farber helped out on the production, which featured numerous contributions from participants at and around the Fest Film Festival in Espinho, just south of Porto.

Fest provided the backdrop to the film, with William Brown also delivering a masterclass on zero-budget directing at the festival.

Post-production
We are continuing post-production work on This is Cinema and The Benefit of Doubt. Imminently our collaborative epistolary film with Macedonian filmmaker Vladimir Najdovski will be completed and will enjoy a screening in London. Keep an eye out for this!

Exhibition
William’s recently completed short film Clem, which is about one of the cats that lived with his family during his childhood, played at the 2018 Film-Philosophy Conference in Gothenburg, Sweden, where it was generally well received.

On a separate note, though, Circle/Line was accepted into the Jogja International Film Festival in Indonesia, where it received an International Award of Merit.

While this sounds like good news, there was no actual screening of the film, since the organisers of the festival insist that all filmmakers be present if their film is to be screened – and William could not afford the cost of the airfare to Indonesia.

Failing the presence of the filmmaker, one can pay a local representative to be at the film, while the festival also only accepts films that have been burnt to DVD/BluRay by the local designated company. Oddly, the festival does not accept file transfers.

The combination of these quirky policies has led William to question whether the festival is really one aimed at getting the filmmaker to spend money locally in Indonesia, which is not necessarily a bad thing, but which does reaffirm the way in which many festivals are not screening stuff because they really like it, but for other reasons, perhaps here economic.

This prompted William to survey his festival submissions over the past few years. Looking at FilmFreeway alone, William has submitted his projects to a total of 128 festivals.

There have from this been 11 acceptances, 113 rejections and 3 submissions the outcome of which has not yet been decided. This means that less than one in 10 submissions has resulted in an acceptance.

Of those 11 acceptances, two were for film scripts (or rather, for the same film script, namely Kiss & Make-Up – at the Oaxaca FilmFest and at Scriptapalooza respectively), while six acceptances were for films that ultimately did not have a screening (with those screening-less festivals being the Beijing International Film Festival, the Stockholm Independent Film Festival, the UK Monthly Film Festival and the Barcelona Planet Film Festival, which supposedly accepted three of our films at once).

This then leaves three festivals alone as having taken our work and actually screened it – with one of those being a screening of The New Hope at the Bad Film Festival in New York, where there was an audience of zero people (although this number has not officially been confirmed). Otherwise, Letters to Ariadne played at the Validate Yourself Film Festival in New York (where over two thirds of the audience walked out and where the festival organiser himself tried to clap the film off the stage), and Circle/Line played at the wonderful East End Film Festival in London.

This means ultimately that 128 submissions have led to three film screenings, a hit rate of less than one in 40. And it means that a sum of roughly £1,500 has led to about 100 people watching our films. In order words, we are paying about £15 per head for people to watch our films.

(This is not as bad as the £400 paid to a cinema in London recently to show a preview screening of The Benefit of Doubt, and to which 10 people turned up. A simple case of mathematics: for that screening we paid £40 per person to be there!)

A couple of things follow from this, the last of which will be a typical performance of self-deprecation.

The first is that if you want to make some easy money, we suspect that you could do worse than to set up a film festival that never actually runs, or which if it does run, plays only one or two films from among those ‘selected.’ All you need really to do is to give to people ‘palms’ (if that) so that they can put them on their poster to give their film the air of having had ‘festival success.’

Charging a small fee in order to attract those filmmakers who do not have the money to foot £75 entry charges, I imagine that you would have a steady stream of 50-100 submissions each month (especially if you create a ‘rolling’ festival, like the UK Monthly Film Festival). At, say, £10 a pop, that would make you between £500 and £1,000 per month, minus your fee to Film Freeway. It would certainly help with the rent and/or to pay for one’s own creative projects – including the hire of a venue at which to the screen your own work (something that William has also spotted some festivals as doing).

The second point is that such a low hit rate would suggest that our/my/William’s filmmaking is shit – since no one wants to watch it (we have to pay people to watch our work).

Even after a high profile screening of Circle/Line at the East End Film Festival, not a single door has been opened in terms of giving to that film a further festival life – in much the same way that no festival screening has ever in our careers led to further festival screenings, with none of our 14 feature films having played at more than two festivals (and with none of our shorts having ever been selected for a film festival at all).

This compares very negatively with numerous other filmmakers, whose work seems to enjoy a ‘run’ of 30 or 40 festivals with a single film.

Perhaps one day we’ll work out what it is that we do wrong. But certainly we are just wrong, or we just get it wrong the absolute vast majority of the time. We certainly very rarely get it right – in terms of not just having a screening, but also in terms of people actually liking what it is that we do.

I guess, however, that we carry on – even if it is to the displeasure of those who wish that we would just give up, and even if it is to the displeasure of those who enjoy having a good laugh/bitch at our expensive when our work is mentioned in conversation.

Because if we didn’t carry on, then the feeling of not being right would become overwhelming, since it also is linked with not being right for this world. And the logical thing to do for someone who is not right for this world is to remove oneself from it.

Apologies for the relative silence on the Beg Steal Borrow front.

However, we are delighted to mention various screenings that have recently taken place featuring Beg Steal Borrow movies.

Firstly, The Benefit of Doubt screened at B-Film at the University of Birmingham on 12 January, before Selfie screened on 23 February at Coventry University – where there was a large and lively audience.

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Selfie screens at Coventry University.

Then The New Hope screened on Sunday 25 February at the Countdown Theater in Brooklyn, New York, as part of the Bad Film Fest – as well as at the University of Roehampton, London, on 29 March.

Bad Film Fest

Finally, Circle/Line screened at the University of St Andrews on 11 April, while Sculptures of London will enjoy a screening at the University of Bedfordshire in Luton on 10 May.

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Circle/Line screens at the Byre Theatre in St Andrews, Scotland.

Many thanks to all those who have shown and who continue to show support for our endeavours.

This is Cinema is coming along slowly but surely, and we hope that there are more similar screenings soon.

Disappointment is a common feeling at events where filmmakers talk about their path into ‘the industry.’ For a start, no filmmakers really ever talk about luck (or, if applicable, connections) as helping them to get into ‘the industry.’

What is more, it generally strikes audiences as disappointing when the filmmaker simply says that you have simply to make films.

But even if they are not going to share their connections or admit their luck, these filmmakers are not wrong.

Indeed, filmmakers cannot explain to others how to get into ‘the industry’ (perhaps especially when they got in through luck and/or connections) because there is no set path (except perhaps via luck and/or connections, with the former appearing relatively randomly, while the latter you either have or you do not).

[To note: you can make your own luck, but you do this simply by carrying on making films, i.e. following the filmmaker’s advice. And you can create connections, but you do this simply by making films and showing them as wide a range of people as possible, i.e. by following the filmmaker’s advice.]

I would speculate that the general sense of disappointment stems, then, from a desire for people to know how to make the ‘right’ connections – which reveals the lie that they do not so much want to make films as want to have power and/or glory. Making films and having power are two different things – even if culturally we regularly conflate the two.

In Franz Kafka’s The Trial, a priest recounts to Josef K the story ‘Before the Law,’ in which a man from the country seeks to gain access to the law. He is told to wait outside the door of the law until called. He is never called, in spite of trying to bribe the doorman – who of course takes his money and does nothing.

In a recent class, it struck me when a student was talking about wanting to get their project ‘green lit’ about how waiting for the green light (therefore about how waiting at a red light) is basically akin to the country bumpkin in Kafka’s story: if you sit around waiting for the light to turn green, it won’t. If you sit around waiting for permission to enter the law, you won’t get it.

You simply have to start doing it, and whatever happens after that does not matter. You are a filmmaker. You do have power. And the last person to tell you that you do not and/or that your films are not ‘real films’ is yourself – because there’ll be lots of others doing that for you as they seek to impose power over you by making you feel that somehow your own work somehow is not legitimate.

Don’t get me wrong; I have had many people say such things to me, and I am prone to believing it at times… and then I remember that I do not want to make films, which strikes me as a relatively banal and modest ambition at best. What I want to achieve is to change the very institution of cinema. And it is through the very illegitimate (‘bastard’) nature of my work, that cinema’s bloodline can change – because it certainly won’t via the nepotistic circles and/or via the processes of cinemas of conformity (people who make films that like pre-existing films, rather than people who make films that do not look like pre-existing films – even if my own films engage very consciously with their relationship to other films, e.g. by consistently having references to the work of people like Jean-Luc Godard, Jean Vigo, the Lumière brothers and the like – or what I might consider at times to be a lineage of bastard filmmakers whose work I want not simply to recreate but to take from behind).

Nonetheless, my relationship to film sound is at best ambivalent.

I may be completely wrong, but I suspect that my films would have reached far wider audiences if they had better sound. And I am torn consistently between wanting to reach and to please wider audiences than I do (since not to reach wider audiences gives one a sense of illegitimacy – and I have numerous tales of failed, fucked up and disappointing screenings that only reinforce this, even if bloody mindedly I will not stop making films).

And so if I am to reach wider audiences – if I am to appease my vanity rather than await the era when people want simply to listen to the sound of traffic and/or wind instead of dialogue – I feel compelled to strive for ‘better’ sound.

This, then, is my dilemma: should I strive for ‘better’ sound, or should I keep going as I am, with my films not just wearing their tiny budgets on their sleeves, but also in a different sense register having it audible for all to hear?

Hito Steyerl talks of the importance of the poor image, but she does not mention anything similar in relation to film sound. People will tolerate a movie shot an iPhone – as long as it sounds okay. But as soon as a film sounds cheap, then audiences run a mile.

Because if cinema aspires to be anything, it does not aspire to be cheap. It does not tolerate poverty, even if it pretends to by occasionally tolerating movies with ‘rough’ images – but very rarely movies with rough sound.

To rate movies by how rich or poor they appear, and in particular by how rich or poor they sound, is not to rate movies, but to rate wealth. If only the wealthy are deemed legitimate, then this is because we live in a society that elevates wealth above humanity – and wealth above cinema – such that only the wealthy are human and only the wealthy films are real films. In short, then, this is to worship money as humans believe that cinema is a god to which one can only enter when granted permission (when ‘green lit’). You do not ask permission; you storm the building, or you burn the light down, or you break the door, its lintel, you throw down the doorman, you burn the money you offered him, and you realise that there is no law.

I gave a talk recently in Abu Dhabi to a group of ‘young Arab media leaders.’ The talk was on propaganda and how media create a sense of power.

At the start of the talk, I refused to use a microphone, even though I have a relatively quiet voice and even though I was speaking in a large room in front of 100 or so people. For me, if you want to hear me talk, then don’t sit at the back of the room. And if you want to hear me talk, then listen.

The point is not about people expecting things to come to them (here, my voice) rather than making the effort themselves to come to me.

Rather, I did this gesture of refusing the microphone because the microphone gives the impression not that my voice comes from my body, but because of the surround sound speakers that my voice comes from everywhere.

In effect, the microphone disembodies my voice. And as soon as my voice does not have a body, it becomes less human and more divine (it is a voice that comes from nowhere – like the voice of God).

In effect, then, the microphone empowers me – and in conferring to me a sense of power, it induces in others a sense of deference, and as a result it functions through its form – amplified and as if from nowhere – as the structural basis upon which propagandistic contents can then be spread.

In short, propaganda relies as much on the seeming authority with which it is spread than it relies upon the actual messages that are conveyed. Propaganda begins by making you believe that what you are going to be told are the words of someone with power and thus someone to be believed – long before they actually tell you what it is that you are supposed to believe.

My practical exercise in some senses fell flat on its face. I was heckled to use the microphone because indeed some people at the back could not be bothered to sit in any of the fifty or so chairs that were empty next to the stage.

In other senses, though, the call for me to use the microphone proved my point. My point being not that some people want/need amplified and disembodied voices in order to listen – i.e. some people want propaganda, they want their own subjugation, they want to be at the red light. Rather, my point being when a voice is embodied – i.e. when it comes not from a god but from a mere human being – people generally are not interested.

I often feel this in my everyday life. It is a semi-regular experience that when I achieve anything of note, someone will come along and express disbelief that I could have done it. It is not simply that in the flesh I am a deeply unimpressive human being – even if this is the case for many people. It is also because these people know me in the flesh, i.e. as having a body, that – be I impressive or otherwise – they cannot take me for a god.

In other words, when we physically know someone, it is harder to confer on to that person any great power; when we do not personally know them, they are a disembodied image and/or voice, and thus we are prone to defer to them as being powerful. As a result, the disembodied person/voice can be granted god-like status, while we knock and disrespect the embodied person, even if they in fact are equal.

Now, my narcissistic tendencies towards megalomania do in some senses want to convince others that I am a god of sorts. But at the same time, I want to explode the entire structure of god-making through disembodied media.

You do not need money to make films. I am a human with a body. And my films do pick up random street sounds, buzzes, hums and other things as record sound live in real locations.

However, so much does ‘bad’ sound (noise) make films seem embodied and/or as taking place in the real world (as opposed to the amplified and disembodied nature of ‘good’ film sound, which contains little to no noise, and which thus take place in a fantasy realm – even if all films are mediations and thus fantasies to some extent), that I do feel at times as though I am coming up against a brick wall. Films that do not sound like god do not get listened to, since sound is god in cinema.

I recently did some additional dialogue recording (ADR) for my film, The Benefit of Doubt, even though I am trying – and very slowly succeeding – to edit This is Cinema (which is not to mention that I am also hoping to re-record the voice over for Sculptures of London).

But in doing this ADR, in some senses I felt as though I was betraying my aim to destroy the hierarchies of cinema – even if that aim is quixotic, easy to laugh at, definitely the work of an embodied human being, and likely to end repeatedly in failure – and perhaps definitively so as my work is simply forgotten, ignored and eventually corrupted by time, rather than seen and heard by people as in some senses I of course want it to be.

My dilemma, then, is whether I continue to use this new sound, and perhaps even record more. Or whether I embrace poverty and the derision that the poor of cinema face in the same way that the poor of the earth are derided, too. Perhaps to want audiences and respect is hubristic – and we must instead embrace failure. But if no one will listen, maybe one does have to amplify one’s voice into a technologised shout.

Any thoughts on the topic are welcome.