One sequence shot to describe what goes on in a post-production studio, where the soundtrack of Francis Ford Coppola’s The Conversation is being dubbed. What is normally invisible to the spectator appears on the screen, alternating reality and fiction. But what is real and what is being fabricated?
Deborah Stratman lives and works in Chicago, where she teaches at the University of Illinois. Her works alternate the use of 16mm film, digital and video, and have been featured at world-famous museums, such as MoMA in New York and the Centre Pompidou in Paris, and have been screened at internationally important events, including Sundance, the Viennale, Cph/Dox, the Oberhausen Film Festival and the Rotterdam Film Festival. At the 2009 Torino Film Festival she presented the medium-length O’er the Land and the following year, the short Shrimp Chicken Fish.
My Alchemy (cm, 1990), Upon a Time (cm, 1991), A Letter (cm, 1992), Possibilities, Dilemmas (cm, 1992), The Train from LA to LA (cm, 1992), Palimpsest (cm, 1993), Walking (cm, 1994), Iolanthe (cm, 1995), On the Various Nature of Things (cm, 1995), From Hetty to Nancy (cm, 1997), The BLVD (mm, 1999), Untied (cm, 2001), In Order Not to Be Here (cm, 2002), Energy Country (cm, 2003), Kings of the Sky (mm, 2004), How Among the Frozen Words (cm, 2005), It Will Die Out in the Mind (cm, 2006), The Magician’s House (cm, 2007), Butter and Tomatoes (cm, 2008), The Memory (cm, 2008), Kuyenda N’Kubvina (cm, 2010), FF (cm, 2010), Ray’s Birds (cm, 2010), …These Blazering Starrs! (cm, 2011), Village, Silenced (cm, 2011), The Name Is Not the Thing Named (cm, 2012), Musical Insects (cm, 2013), Immortal, Suspended (cm, 2013), Second Sighted (cm, 2014).
“It took two years of occasionally scouting trips to multiple foley stages around Los Angeles before I found one whose location and layout suited the circular shape I wanted the film to take. I needed a stand-alone stage, with both a back and front door, and in a neighborhood where going around the block would not take inordinately long. […] And I needed a real street where life was going by, un-constructed. So that, as the film progresses, the audience can have multiple and shifting suspicions about what is real and what is fabricated. When I finally found, with the help of my foley artist Gregg, the studio at 1533 Magnolia in Burbank, I knew we had our location.”
Deborah Stratman, Aaron Bartscht, Lou Mallozzi
Gregg Barbanell, Darrin Mann