22.11.10

3. Secret Cinema - The Making Of With the Laundry room empty, work could begin. We had come up with a concept which would explore the overwheening presence that Nurse Ratched had over her patients, and the foreboding mood she brought to the hospital. She represented a point of focus for the patients - an authority figure, vigilant, with an ice-cold stare. She was the worst sort of company. Her existence is felt throughout the film - we wanted to exploit the feeling that she is always there - a thorn in her patient's sides. We liked this idea of her jutting between between the hospital floors - almost as though the hospital was built around her. The tone of the film (and the ward) eminates from Ratched. Our Ratched would become this consuming presence - a monolith, huge, vast, over wheening, a splinter, a negative space, a void. And black - a black heart pumping in the centre of this space. The monolith evokes totemic, tribal images derived from the character of Chief Bromden. We wanted a white space - a gallery space, a clean room - to exist in complete contrast to the beigeness of the rest of the hospital. And the room was to be empty, apart from Her: Huge. Looming. Black. And Bleeding in the rest of the hospital. We referred to the composition of the group therapy scenes. To begin with, we painted the walls white. We painted the floor white. We painted the window frames white. We painted the radiators white. Then, we went to Westbourne Park and bought the wood we needed to make our monolith - we scrounged a lifte from a passing chippy who told us he'd just worked on the new Harry Potter - we told him what were doing, he seemed bemused but very happy to help - he had a big truck. We were very lucky. The idea of carrying this wood was going to make us cry. We cut out the wood. We assembled it. We moved it into the space. We painted it black. It was almost ready. We painted the floor and we left it to dry.

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