On the eve of Day Two of Memories of the Future, we get to hear from my two co-organisers, musician & graphic designer Dan Layton (aka Apalusa) & filmmaker Phil Formby, about their involvement with the project. Will they take this opportunity to rip me to shreds… lets see.
Tell us a little bit about your creative background?
Phil Formby – I graduated in Audio Visual Production in 2006 and since then have kept myself busy making films. It is something that I have always loved doing so Memories of the Future was a perfect way for me to collaborate with like-minded people. I have many years of experience putting up exhibitions so it was nice getting my hands dirty for an intense three day install.
Dan Layton – Four years studying graphic design at degree level. After university, my creative tendencies gravitated more towards music. I’ve toured the UK and Europe a few times and released a few records and I honestly think that playing music has been the source of many of my fondest memories. I’ve always kept up with the design work though, both for work and pleasure.
How did you get involved with Memories of the Future?
PF– Kirsty asked me and I said yarp.
DL – I’ve known Kirsty for many years and she was kind enough to pay me actual money for designing the cover for her novel Dogtooth Chronicals. After that, we continued working together as part of Bees Make Honey and the idea for MOTF developed over numerous pints. She initially asked me to come up with the visual identity for the project, but as more and more ideas were thrown around, my involvement became greater.
Which event are you most excited about?
PF– I am looking forward to THAT FUCKING TANK and GREY HAIRS at the after party so we can (hopefully) toast a successful venture and a job well done.
DL – I’d be hard pushed to choose one in particular, but I think Afternoon Tea with Babes In The Wood will be pretty brilliant, if only to see a sinister-looking, 6 foot tall hare called MYST scare the living daylights out of children in Hockley. How can that be anything other than utterly great?
What has been the most stressful thing about organising something this ambitious?
PF– Gathering and curating film submissions has been quite a handful, particularly in the week running up to the event. Lots of extremely high quality content coming at me at the last minute that I can’t bear to leave out. I am still adding to the showreel as the week progresses. Also dealing with Kirsty on a regular basis has been hellish. I have never worked with such a control freak. It’s been awful. (Ed. Ha!)
DL – Co-ordinating disciplines into one project and making sure that they work well together. It’s all very well having brilliant individual events – and they are ALL brilliant on their own merit, but it’s getting them to fit within the context of the whole project that’s been a real challenge.
Either that, or finding 12 new emails from Kirsty that usually start with the line, “Just one more tiny favour to ask…”, EVERY SINGLE DAY
How do you feel about the future of the analogue/digital relationship in terms of your personal projects?
PF– With the demise of many film stocks, increasing prices and the availability and quality of digital equipment, its becoming increasingly difficult to justify using analogue techniques as a film maker. That said, I still only use analogue equipment for photography as I see this as a hobby rather than a career so I am happy to spend my money this way.
Many many thanks to Dan & Phil, not only for their endless stream of sarcasm, but in all seriousness I couldn’t have done it without them. All the stunning artwork & the teaser trailer, the showreel/mini cinema, selection of photography, knowledge of the local music scene & ability to physically put a show together. Without them I am just a writer & incredibly lo-fi artist, who wishes they could make films.
Nice. One. Lads. See you at 7am sharp tomorrow, please bring me a cafe latte, fried egg sarnie & the moon on a stick covered in pixie dust. I know you can do it, I believe in you.