Periodically, a part of me places a hand on my shoulder, leans forward into my field of view and peers into my eyes. “Who is this for?” I can’t help but have an earnest conversation. I’ll most likely reply: “I don’t know, but if no one else, then myself. You.”
More often than not, the process of making seems to be a performance in its own right, a distinct thing to be witnessed and enjoyed. Further to that, and perhaps it points to a sentimental temperament, often having made a thing, and that thing may not be a finished film but just as likely an unfinished one, the “thing” becomes an artefact, and those artefacts are archived in a museum in my cupboard, or in a hard drive. To be pulled out and witnessed again, at another time, as a reminder of who I was back then, and the shape of my thoughts and feelings.
An Archive of Feeling
My friend Henry came to visit recently, I pulled out a folder full of drawings, diagrams and drafts of a script I had written about us both, and our friendship. In a moment, we landed in a space that we hadn’t been to for years – we have been living in different parts of the UK for some time. And, despite the fickleness of our memories, and myopic view of who we are, we became a bit quieter, a bit more reflective and we floated up to space where we could look down and see: how things were and how things have changed.
In Praise of Home Video
The more serious I become with my film-making, the more often I come back to artefacts that capture the process, as some aspirational form of art. They can be deeply personal, with the capacity to move you outside of yourself, and they will stick with you for as long as you hold onto the archive in which they’re stored.



