In many ways Night Eyes follows from the history of street photography, in as much as it is a documentation of something happening on the street. It plays with the idea of what is a movie. Can a movie be a found movie? Not a movie made using found footage, but a movie that is happening in the world, created by life itself, that someone just finds (and documents)? Which immediately raises the question can't anything happening in the world be a movie, including things that are just sitting still?

The initial recording from which Night Eyes is cut is about thirteen minutes long, made during one freezing San Francisco summer night. The edit took about fifty hours over a period of six months. The main difficulty was in how to present the sequences so they didn't drag, so there was a feeling of building up to something. The first watchable cut was too short, but I couldn't recognize it as such because Night Eyes was my first experimental film and I was still learning about pacing and rhythm. It took for me to revisit the film after a few months of leaving it to sit to recognize that I needed to extend a few of the sequences so they wouldn't end too abruptly.

The original version of Night Eyes has no soundtrack mainly because I envisioned the film as a visual poem to be experienced in silence, but the first person to program the film was Craig Baldwin, and he very much wanted sound. I contacted three musicians for a soundtrack and each said they were interested but didn't know if they could finish in time for the show. Well, all three finished music for it! The first soundtrack was made by Amma Ateria, the second by Isaac Sherman, and the third by Greer McGettrick. Each version of the film turned out to be a completely unique and wonderful piece of art. Take a look below:

take me home!