MICHAEL NYMAN IN HIS STUDIO
[...ONE OF THE PROBLEMS WITH WRITING FOR ANYONE’S FILMS IS THAT MY MUSIC, BECAUSE OF ITS PARTICULAR FORM AND STRUCTURING, HAS ONE KIND OF NARRATIVE. WITH GREENAWAY, EVEN THOUGH HIS NARRATIVES DON’T APPEAR TO BE THE SAME AS CONVENTIONAL HOLLYWOOD FILMS, THE FLOW OF THE DIALOGUE IS MUCH CLOSER TO HOLLYWOOD THAN IT IS TO THE INDEPENDENT FILMS THAT WE MADE TOGETHER BETWEEN 1976 AND 1982, FILMS LIKE
THE FALLS
AND
VERTICAL FEATURES REMAKE
, WHICH WERE VERY STRUCTURELESS NARRATIVES. I’VE ALWAYS FELT THAT MY MUSIC HAS SAT RATHER UNCOMFORTABLY WITH THE NARRATIVE FLOW OF A DRAMA THAT DEALS WITH THE INTERACTION BETWEEN HUMAN BEINGS. THERE’S ALWAYS A SENSE THAT HIS CONCEPTUAL NARRATIVE AND MY MUSICAL STRUCTURES DIDN’T MESH TOGETHER BUT THEY WORKED AS A COMBINATION OF MY MUSIC AND HIS IMAGES...]
/ EXCERPT FROM A CONVERSATION BETWEEN
AND
FOR
SOME/THINGS MAGAZINE CHAPTER005
. A PREVIEW OF THE FEATURE IS
WITH LESS THAN 50 COPIES OF THE
REMAINING.
/
photographed by
at his home in ISLINGTON [LONDON, 13 JUNE 2011]. FOR MORE, INCLUDING UNPUBLISHED IMAGES OF
'S MUSIC SHEETS FOR
THE PIANO
,
THE DRAUGHTSMAN'S CONTRACT
, AND
FACING GOYA
], VISIT