Vanishing Point (2017)
With Vanishing Point, I wanted to tell a personal story, untrammeled by digital effects; a story that would immerse the viewer in another kind of world, a strange world that was actually made up of very normal things. My iPhone allowed me to respond to the immediacy of life around me and record its unfolding. I wanted to search beyond the primacy of the everyday much as a painter or a poet searches for that epiphany within a simple apple or pear on a plate or a smile or touch.
The only formal parameters that I applied, which developed over the eight-year shoot, lay in the duration of each shot and the fixed use of the camera. Every shot would be no longer than thirty seconds in length, giving the subject in front of the camera its own natural space and time in which to develop. Unconscious themes began to appear. Time itself became the story, as the characters (including myself) grew older.
Cinema has the power to heal. For me, that process of healing begins with the viewer. The experience points towards a renewal of vision and of feeling. This film presents a form of meditation, a cleaning out of old and unwanted preconceptions. The initial process is even uncomfortable as our normal reactions and habits of response are questioned. Vanishing Point demands an openness and a slowing down. It may not be for all, but will reward those who give up their time to enter into the experience.
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