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Hadrien Don Fayel - La profondeur du chant - spectrum orchestra

1:50, 2014, Experimental
This film is made of transformed images of the hatching of a nestling, associated with archives of a super 8 film, re-shot and deformed in HDV.

The project sprang from a desire to utilise disruptions from a super 8 projection as a writing proposal.
Built over a pre-existing sound score, « the depth of a song » illustrates the birth of sound and image, relying on a video recording of an animal experience and a sophisticated human performance.
Starting from the absence of light, leading to over-exposition, a parallel is drawn between the first perceptions of light for the nestling, and representation of a cabaret dancer under artificial lighting.
The confrontation between the two univers is articulated around the density of the subject’s movments and the intensity of the lights overlooking.

DirectorHadrien Don FayelCameraHadrien Don FayelEditorHadrien Don FayelComposerSpectrum Orchestra

CountryFranceEdition2014 Green

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Interview

Your film is about?
The birth of a bird’s song.
This film is made of transformed images of the hatching of a nestling, associated with archives of a super 8 film, re-shot and deformed in HDV.

The project sprang from a desire to utilise disruptions from a super 8 projection as a writing proposal. Built over a pre-existing sound score, « the depth of a song » illustrates the birth of sound and image, relying on a video recording of an animal experience and a sophisticated human performance.
Starting from the absence of light, leading to over-exposition, a parallel is drawn between the first perceptions of light for the nestling, and representation of a cabaret dancer under artificial lighting.
The confrontation between the two univers is articulated around the density of the subject’s movments and the intensity of the lights overlooking.


How did you start with film? And do you have an educational background in art or film?
I got my degree at the institut Saint-Lusc Tournai (Belgium) after 8 years of studying photography and plastic arts. I also studied art anthropology at Mons and film directing in CLCF, Paris.


Could you explain how you work, what themes or concepts you use and what is important to you?
What interests me is to capture, thanks to impovisational shootings, blocs of reality that unite to form a portrait of reality which is very much alive and coherant, even though it is not continuous. In other terms, it is not important to me to film a realistic continuity or one percieved as such. I would rather look to archieve another perception of reality, that will speak to us about the essence of the subject in a way that will be just as truthfull.


How long do you usually work on one project?
It depends on the scale of the project. I worked three weeks on this 1’50 film, and 5 years on my 71 minutes project, called « Nature’s Breath ».


Do you carefully plan the production process or do you work more intuitive?
I start from a precise idea, but once the frame set, I develop the work in a more intuitive way. When filming, I shoot a lot more than I actually need, starting from generic framing and evolving towards more extreme shots to explore the diverse options which present themselves to me. I then select and assemble fragments which seem to correspond to the subject.


How does the title relate to the work, and how do you find a fitting title?
For « La profondeur du chant – Spectrum Orchestrum », I used the title of the musical improvisation on which the film was construted, as well as the name of the group who performed the musical piece. (Spectrum Orchestrum).


Where do you get your ideas or inspiration from?
For « La profondeur du chant – Spectrum Orchestrum », I started my work from a musical improvisation by a french jazz group called Spectrum Orchestrum. I looked at some rush I had from previous shootings and super 8 images I had digitized without knowing what I would do with it. The idea of the birth of a bird’s song came as I was viewing the rush I had of the hatching of a nestling.


How important is sound in film, and if you use sounds, do you create your own or use existing?
Again, it depends on the project. But here I started from a pre-existing sound score.


How important is the reaction to your film by the audience?
I mostly hoped that the members of the group Spectrum Orchestrum would appriciate the film, since it was supposed to resonate with their work...


What is your next project about?
I’m working on different projects at the same time.

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