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SAN FRANCISCO - 29/04/05
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A day of press, again, but the journalists here are noticeably well prepared, the questions are extremely interesting and I am impressed by their integrity and enthusiasm. All in all it is a good day. At the end of the day I rush from the interview suite to prepare myself for the evening, when I am to swap roles and become the interviewer myself on stage at the enormous Castro theatre, asking questions of Joan as a continuation of the event honouring her, before the screening of YES. I find that I am extremely nervous. Much more so than if I was to be the one being asked the questions. Fred Frith arrives at the gathering before the event with his artist photographer partner Heike Liss. He has not seen the film projected, just bits of it on a monitor in the recording studio, before it was graded or mixed, and he has not yet heard what I did with his glorious playing on the soundtrack. I am bit nervous about that too, and find I am eager for his approval, for it is such an act of generosity and trust that he 'gives' me his work as an improviser in the recording session and then I do all manner of things with it, using it as material to shape, weave, overlay in ways neither he nor I could predict when he plays it. This is the fourth such film music collaboration with Fred and the singing tones of his guitars have become part of the fabric of my films. We all squish into the stretch limo to drive to the theatre.
In the limo
With Fred Frith and producer Christopher Sheppard
Back in the limo
Text © Sally Potter. All pictures © Adventure Pictures unless otherwise indicated