Interview with director Brian Ratigan
Here is our interview with Brian Ratigan, who directed Death Archives №5 which we included in an earlier newsletter. You can watch his film here.
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How did you come up with the idea for this movie?
“Death Archives №5” is an ongoing “series of films exploring the nature of existence in a world of chaos and darkness, and how the ethos of the dead continuously interact with the living.” Each installment is shot on super 8 and 8mm film in and around NY cemeteries, exploring the visual landscape of death within the realm of the living. Film itself is so ephemeral, so creating an archive of sorts felt like the correct approach.
What drove you to use the visual language that you did for this particular movie?
The landscape defines the visuals, and as a more freewheeling camera experiment, there were no storyboards. I wanted for this installment to be more meditative, so I opted for longer shots that seemed more interesting.
What other movies or arts did you consume in preparation, or what of those inspired you for this production?
Brakhage’s short films. Pasolini’s camera in Teorema. Laughton’s The Night of the Hunter. There are too many initial references that I keep in my pocket, but mostly I’m always inspired by the work of my friends.
Talk about a pleasant surprise you had during production.
The footage was shot six months before it was ever developed and processed, so the major surprise for me is finding the shots had lined up as thoughtfully as I had hoped while shooting. Learn to trust your intuition!
Talk about a pleasant surprise you had during post-production.
I tend to have minimal editing in this series. When the footage came back from Negativeland (in Brooklyn), I cut what I thought was a substantial piece and sent it to my friend Ivan Khilko (aka Immanent Voiceless) to score. I gave him very little notes, and asked him to score it as he would like to. It came back 1000x times better than the silent film that I sent him. What you hear, scored to the film, is almost exactly the original composition, just with a few small edits.
Why do you think you were driven to make this specific movie at this specific time?
I have been shooting camera tests in NY cemeteries because even if the film comes back damaged or unsuccessful, cemeteries always have a unique look. I did not plan on creating an entire series, but it’s a nice annual celebration of creation to be able to complete at least one small film.
Did the film come out how you thought it would?
The absolute truth is nothing EVER comes close to the ideas you have in your mind, but this once is very close. Ideally, each installment should feel like a gradual progression from the last one, so in that case I was comfortable showing it to friends. I would also like to thank the musicians who have collaborated with me on these films, each of whom has done an excellent job of bringing these films to life: Bastet, Reining Nails, Von Nacht, The Ruin, Immanent Voiceless, and most recently, Ootheca.
Do you have your future filmography laid out?
There are a handful of “dream projects” that I would like to create, as well as a feature film, but I’m always working on or towards something new. I found that life can get in the way of creating art, so for me inspiration comes from everywhere, you just have to be ready. In the end, you either create it or you don’t.
What do you hope to pass along to other artists?
Instead of focusing on the reactions to your work, always keep creating. If you have an idea, get your friends to collaborate and make it together. Create your own archives.
