Stigmart VideoFocus Special Edition NKD

made. The photographs of Man Ray also hugely influenced me, his work is beautiful.

Your editing style is really impressive, throughout your film every frame seems to continuously reshaping itself. Could you introduce our readers to your process?

When it came to this project, I didn’t think over it as long as I usually do, I just threw my jumbled feelings into the camera, and so I didn’t approach the edit how I usually do, which is normally very methodical. It was essential that I tried to mimic the way my mind had imagined these sequences, and so I had to create a sense of disjointed flux. You’ve really hit what I was going for; it’s reshaping because they aren’t concrete. It’s hard to hold onto a thought, like when you’re falling asleep and your imagination jumps somewhere else for a second and back again, so whenever the feeling of what I had imagined changed, I had to cut or switch from inverted to non-inverted, as the thought came in and out of concreteness.

The inversion of black and white may be interpreted as a psychological distancing or phrasing of the images as in remote memory. Could you better introduce our readers to this peculiar visual aspect of Maybe You'll Change Your Mind?

It’s hard to explain because it derives more from a feeling. The images had to look less real somehow, because they are happening in my imagination, I didn’t want them to look like they were of this world all the time. Like a film negative. They are worries about a potential future involving children, and so are not real yet. The shift at the end is the important one, from inverted black and white to colour. The idea was me expressing how I know I would feel washed up, stranded, and lost with children. All my energy would be given to the children, with none left to pursue creativity, and if you’re an artist you need to be creative to live so I would just be mentally dead. It turns to colour because it becomes real; I can already imagine experiencing how that would feel now. It’s also sort of playing with the idea of water and sea as consciousness, so the ending is showing how all this is birthed from my thoughts.

We have previously Guy Maddin, a contemporary Canadian visionary filmmaker, since your filmmaking style is