NIGHT EYES






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 original 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.

I never felt that Night Eyes needed a soundtrack, I've always thought of it as a purely visual experience, 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 original soundtrack was made by Amma Ateria, a second one was made by Isaac Sherman, and a third by Greer McGettrick. Each sound version has played for an audience and was very well received. I love each and every one, but for me the film will always be a silent film.





take me home!