A girl ate ices in the red summer...
imagination triggered by reading
Jake Lans interviews Angela & Ithlye
Stationed in Los Angeles, California, Angela and Ithlye have made a career in blending creative and artful shots with clever promotional sensibility. Their impressive client list extends from Target to MTV, and many in between. They have had films showcased on an international stage at such events as The Saathchi & Saatchi New Directors Showcase at Cannes Lions, The Genart Film Festival and FLUX at The Hammer Museum in Los Angeles, and the LiberArti Film Festival in Tuscany, Italy.
Many motionpoems utilize a voice actor to help convey the poem; you chose text. What inspired that decision?
As we were listening to different voices, we realized that any voice actor that we chose would really influence how the poem was understood by the viewer. As we talked about it, we realized that for us the imagination was triggered more authentically by reading than by hearing the poem performed. We really enjoy reading poetry and wanted to stay true to that feeling.
What moved you to choose Meghan O’Rourke’s poem? Did you consult with her while you were adapting?
It’s so young and nostalgic. We decided not to talk to Meghan about the poem because we had a lot of questions about the deeper context of the piece but felt that we needed to go with our own gut reaction after reading it, as one would do when reading a poem normally. We felt that having a greater insight into the poem, having all of our questions answered, would tie us too much to a “real” narrative.
Where was the film shot?
We shot at a hot springs near LA and in our studio and in a home of a friend of mine. We wanted something that was vaguely puritan, and timeless and natural without being overly precious, since our character was so young and sweet. We wanted a religious overtone to temper that youth.
When working with an organization like Motionpoems, how does the creative freedom differ from some of the other projects you have worked on?
It was a lot of fun to have the parameters of the poem and then just go for it. Most of our work is done for products or companies where we have objectives of the client and their culture to really think about (we do a lot of work in other countries) and with this, we could really explore our own motifs and personal mythology.
What’s been your favorite part of this process?
We loved working with the music. At the end of creating the piece, after we had been looking at it for such a long time with our own feelings about our work and our taste, that is when the music came in. When the score was created by Egg Music and attached to the piece, it added such a fantastic dimension and texture to it, and really freshened our own personal feelings about it and made it really satisfying.