The UN proposes to the filmmakers Etienne Cairo and Joyce Lainé to think of a film device with the orchestra. The film is composed of 4 16mm reels projected simultaneously either in a panoramic frieze of 10m x 2.50m or 6m x 4m (depending on the possibilities of the location). Its duration is 30 minutes. If sound and image have their own independence, connections can nevertheless be established in an illustrative or narrative way or propose a totally abstract and subjective reading.
ETIENNE CAIRE EXPLAINS
HOW THIS INTERPRETATION OF THE FILM IS POSSIBLE:
"Cinema art of fixed support? Well, not really. What happens when a "frozen frame" - a still image - meets a white-heated projector window? Or how does an image breathe in the dark shutter beat?
During the projection I manipulate a projector, like a musician plays his instrument, to make a new continuum appear that does not exist on film.
I use a device that allows me to intervene on 5 dimensions of the projection. I can at any time change the film speed, the size of the image, the shape of the frame, the light intensity and the sound. It's little and it's already a lot.
Playing with the projector in an improvisational way is all the more important since it renews the expressive capacities of the editing at each projection. Any modification of one of the dimensions of the projection transforms the ratio of each image in relation to the others. It is an unknown montage, for the public and myself, which takes shape. A film appears that is built there before our eyes, with its own rhythm, and sometimes new actors, as when we slow down a projector, the shutter penetrates the scene and takes on unexpected roles.
This is why the form of the montage of events, the one fixed on the film, should not be a film in itself. It is important that the montage be as neutral, inarticulate, without patterns. It is this constraint that obliges me to intervene on the projection, imposes a sharp observation of the events, a capacity for rapid response in controlled gestures, thus allowing the embryo of intention to blossom.
It is the played projection that will reveal a sense of editing. Far from literary adaptations, it is the cinematographic apparatus itself that writes the script, sings its praises, to give birth to a true visual music, unsuspected and ephemeral".
This approach joins the articulations that the UN brings into play in the music it interprets. It is in line with the artistic line that we have been following since the beginning, which consists in questioning our practice through its relation to others such as light (with Christophe Cardoen), electro-acoustic composition (Lionel Marchetti) or dance (with a ballet of 15 dancers).
Etienne Caire makes figurative, abstract or found footage sequences in 16mm, a practical and inexpensive format. These sequences are produced from simple elements that he copies by permanently modifying the emulsion/light/chemical treatment relationship. Changing the quality and quantity of light, using different development processes to the nearest photogram, bring nuances that make each copy a new original. Copy work and working copy, there is no more hierarchy, a copy is in turn copied-processed and each generation can come, in whole or in part, to join the final assembly.
It is also because it is manual work that a multitude of accidents occur during the processing chain. It is important to observe the effects of these accidents on the film and if they prove interesting to determine the causes in order to reproduce and improve them voluntarily. Many processes have been discovered as a result of risky manipulations.
This material produced in the laboratory is then edited, not to create a film, but in such a way as to offer the greatest possible potential for improvisational play.
Following a manufacturing logic close to that used by E. Cairo, the UN proposes to make music from other music and especially those that have accompanied many films that have crossed our lives, by diverting them. Borrowing from "cut-up" (use of random and rearranged musical fragments to produce new music) certain techniques, we will use record players manipulated to reduce or increase the speed, we will subdivide the orchestra into strings, brass and reeds sections to ape the music of Hollywood films, we will mix known melodies related to cinema and create abstract and noisy materials.
It consists of a 12 m long and 2.50 m high screen on which it is possible to project 4 films in 4/3 format simultaneously next to each other. This screen is stretched above the orchestra, the musicians are slightly set back from it. The filmmaker is if possible with the orchestra, behind the screen, if the room allows it. If this is not the case, he projects from the room, in the middle of the spectators. The audience is seated in frontal, as in a cinema.
It is about using the monstrous possibilities of cinema as a melting pot of molten elements to play an epic of cosmic inspiration dedicated to our perception of the world.