Sloane is a big science fiction fan, but (like me) is more interested in the characters than the concept, so I decided to explore why someone would be driven to travel through time, and what they would be willing to give to make it happen.” I think the idea of the masked-waltz probably came first – it just seemed like an interesting way to get these ideas of higher dimensions across.
Meanwhile, I had become fascinated with some videos online that explained how we might be able to imagine higher dimensions. The property felt so 1920s and we decided to set the film in that sort of time period. My brother and his wife had mentioned we could use the location to make a film and that started the ideas. Neely confides: “When we first visited the main location (my brother’s house, just outside of Cambridge) we were entranced by the atmosphere. Simply coming up with the concept must have taken an immense amount of thrashing out. The tone, the setting and the situation are a unique blend of many influences. This is a science fiction film like no other you will ever see. We came to the conclusion that life is too short to just talk and if making our own film was what we wanted to do then we just had to find a way.” When I asked Neely about how it felt to take such a risk he explained: “Sloane and I spoke about it in depth, so we didn’t take the decision lightly, but we knew the only way we could make the film was to invest ourselves. Naturally having seen the quality of this film, which is almost unbelievable given that the budget was a paltry £180,000, I had to speak to the producers about their incredible filmmaking journey. Every frame has been lovingly composed down to the detail of period headscarves and vibrant hair ribbons and the very sensitive handling of a complex premise makes this undoubtedly one of the best films I have seen this year. Although this is a piece greatly concerned with the entanglement of time on the surface, it is the emotional entanglements within this script that truly grip, surprise and move the audience. The cast is a roll call of talented character actors including: Henry Lloyd Hughes, Camilla Rutherford, Patrick Godfrey, Edward Halsted and Olivia Llewellyn all of whom work carefully to weave the intricate threads of the plot together. It’s a complicated and ever-twisting journey that dabbles with parallel universes and possible insanity, the narrative moving at a considered but intriguing pace.
When a young girl called Victoria dies at the bottom of a well in 1920s Cambridge her two best friends Stephen and Conrad, both of whom were in love with her, grow up into scientists bent on discovering the secrets of time travel in an attempt to reorder the events of the past and save the girl they love.
The resulting picture is beautiful, moving and meaningful on many levels. Subtitle: A line, a loop, a tangle of threads.Īnd what an enthralling tangle of threads it is. That is, however, exactly what the director and screenwriter couple Sloan U’Ren and Ant Neely did to fund their film: Dimensions. Firstly because I, admittedly, don’t have a house to sell but secondly because it’s a massive personal and financial risk. Of course I would never dream of doing something radical like, say, selling my house in order to fund the kind of film I think people want to watch. I don’t speak as a film snob, anybody who knows anything about me knows that I am a bad film enthusiast but I can’t stand blandness and in terms of mainstream cinema things have felt a little lack-lustre this year, to put it politely. Transformers 3, Pirates of the Caribbean 4 and Kung Fu Panda 2…are these really the kind of flicks that make for a golden year of cinema? Hardly surprising when the highest grossing film of 2011 list reads like a who’s who of Hollywood fat cats. Just about every film geek I know has bemoaned the lack of originality in filmmaking at some point in the last month.
0 kommentar(er)
