I believe that to walk in the shoes of others is the best form of documentary. While Light is an intensely personal project for me, I am approaching it in a pragmatic fashion: my intent is not to tell my own story in the film, but rather to create a beautiful amalgam of images and sounds that are evocative. I would like to build a breathing organism of a film so that people feel as though they are exploring these locations and characters with me. My sentiments will more than likely bleed through in every shot I take and cut I make, as I compile a snapshot of an alternate existence. What I will capture could have been my life. But more importantly, it could be any of our lives. Hopefully, one of the many things this film will convey is that we may find ways to detach ourselves from foreign existence, but at the end of the day we needn’t look much further than our own hearts, minds, and mundane experiences to truly empathize and identify with those across the world. In my eyes, that is true beauty and LIGHT.
Max Dameron (of Wizard Rifle) will be composing the score for Light and I am incredibly fortunate to have had him both as a friend and collaborator throughout the past three years. He scored my first feature film, The Painted City—the music used in the Light pitch video. His gift for inventive use of minimalism, as well as a mastery of the crescendo has well suited my previous work and he never fails in bringing a unique and rich soundscape to my projects. We both agree that music is as crucial a component as imagery in any film wherein it is employed, especially Light. I look forward to working with him again and am wholeheartedly confident that I will be floored by his final production. To quote Max on his goals for this upcoming project: “Chris, your idea is weird. So I want to do something weird too. But make it beautiful.”
-Project developed in collaboration with Devious Goldfish (deviousgoldfish.com)
- (30 days)