I realise, for me, sort of sitting down to the same 88 keys at my electronic keyboard and composing wasn’t going to be inspiring enough, no matter what sound I was pulling up on the sampler or synthesiser. So, for me, very much a part of the composing process is setting myself up to be able to make mistakes.
So if I buy an instrument and I don’t really know how to play it, I will find myself approaching a melody mechanically, in the way I put down my fingers, that may yield something very different as I’m not familiar with the instrument. I find that a lot of us get boxed into motor mechanics – of how we play the piano, or the guitar – and an unfamiliar instrument really breaks those motor impulses that we have, that always bring me back to the same place over and over again.
Here’s my interview with Nathan Barr, composer of Flatliners. Nathan has a massive collection of all sorts of different instruments, and a pretty interesting approach approach to music. One of the things I always appreciate about doing these interviews is listening to creative people talk about their process, and noting the differences between them. It’s quite engaging hearing them speak about their art, and hopefully you’ll enjoy reading about it too.
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There’s something particularly effective about this central conceit, positioning the series almost as a monologue; the entire drama is built around and grows from Imogene, placing her right at the centre of the story. In doing so, Overshadowed grants its protagonist an essential level of interiority, immediately allowing the audience an intimate understanding of the character.
More than that, though, there’s a level of respect too; at no point is Imogene othered or condemned, as can happen when friends or relatives are used as point of view character. It all adds up to a sensitive and compassionate account of anorexia, one that’s well worth watching.
Surprised I’d not posted this already, since it’s from early October. Really enjoyed this programme, and I’m quite pleased with the article too.
What was particularly nice about this article, actually, was that the writers and actors involved (the very cool Hildegard Ryan, Eva O’Connor and Michelle Fox) saw it and were quite nice about it. That’s one of my favourite things about writing these articles, actually – letting the people involved know that I appreciated their work. Always nice to spread some positivity.
(What is slightly less cool is that I tried to be a bit symbolic at the end, which sorta works, but is terribly awkward to imagine those involved actually reading it, particular Eva O’Connor, given what I said. Not in a bad way, just a bit… hmm.)
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