You may have heard me mention White Lily before. It’s a short film I’m incredibly proud of, that won some awards, features on Amazon Prime, and has had nearly 370,000 views on YouTube. Putting it together with director Tristan Ofield is one of my favourite memories, and there’s pretty much nothing about that situation I’d change. Apart, that is, from not having a coherent gameplan about where to go after making that kind of splash. Big pond, little ripples, but all the same…
Well, we’re back.
With a new project.
And a gameplan.
I love White Lily dearly, and in many respects it’s about love. Which can be quite a bubble for the lovers. And even though the characters aren’t at a happy place in their relationship it’s just the two of them, out in space. The effect is hermetic, which works well in context - but it doesn’t really reflect the way I think more generally.
Tristan and I have kicked other ideas around, but this new idea is the one that stuck. And the characters are very much plugged into a wider social world that feels like ours. It’s science fiction that emerges from the here and now. Amongst other things, that means unlike White Lily we won’t be faced with a lengthy postproduction process to nail the effects. We were already keen to make this new short, and some time after I realised the end poses a great dramatic question that dovetails with another idea I’m developing with a tv series in mind. All of a sudden, we’d got something with legs that might, just might, be useful in another arena as well as on the festival circuit.
Our new project is called Citrus. The title emerges from a metaphor used within the story, drawn from a real bit of science I heard discussed in a pub garden over a decade ago. I always knew I’d do something with it, and this only validates my commitment to eavesdropping.
To make Citrus, we’re asking people to support our Kickstarter campaign. It’s already doing extraordinarily well, and we’ll soon be announcing stretch goals. Even if you can’t contribute yourself - we’re very aware that filmmaking is a luxury at a time when many are struggling - please do pass on the word to people or groups who might be interested in what we’re doing.
“At a meeting just outside Paris, a fifteen-year-old girl came up to me and said that she'd been to see (The Double Life of) Véronique. She'd gone once, twice, three times and only wanted to say one thing really - that she realized that there is such a thing as a soul. She hadn't known before, but now she knew that the soul does exist. There's something very beautiful in that. It was worth making Véronique for that girl. It was worth working for a year, sacrificing all that money, energy, time, patience, torturing yourself, killing yourself, taking thousands of decisions, so that one young girl in Paris should realize that there is such a thing as a soul.” Krzysztof Kieślowski