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Filmmaker Morgan Quaintance wonders about his career high - and tells us what he's working on at the moment.
You know, I don't really consider myself to be part of the film industry. I work more in the field of film production that's known, for better or for worse, as 'artists' moving image'. It's a bit of a clunky term, but I don't mind it. It's a way to classify films that are less commercial in terms of narrative and aesthetic.
I've just finished a film called Missing Time (2019), which is broadly about amnesia and memory loss. It ranges across territory as wide as alien abduction, Cold War spycraft, and Britain's previously hidden history of concentration camps in Kenya in the 1960s.
I don't have a career high yet. I'll have to get back to you on that one.
I've got a couple of connections to the British Council at the moment. I just finished a film called Letter from Dakar (2019), which was made possible due to a recent initiative, focusing on arts activity in Sub-Saharan Africa. Another film of mine, titled Another Decade (2018), is in a British Council film programme that's currently showing in Kazakhstan.
Don't be intimidated by any of the gear involved with filmmaking.
That's probably what I'd say. I'd also encourage the younger me to move towards art and completely sidestep the commercial side of things (which is where I am at the moment). I didn't know there was a separate professional world and my experiences of working on music videos in the 1990s was just horrific. So that put me off things for ages.
I'll go for Babylon. It's a 1980 film about a young guy in Brixton. I grew up around there.
I'm not sure I'd want to work on any films, but I'd like to be able to just hang around the set and see how things were made. If I could do that then the film I'd choose would be Kwaidan (1964). It's a Japanese film that's super stylised. I'd just like to see how they lit the set, what cameras they used, how they worked with actors, so that I could steal all the techniques.
I can't remember the absolute first film I saw. But I think Terminator (1984) sort of burned itself into my mind when I saw it. Everything was memorable about it. I mean it's Arnie, but also the rest of the cast were brilliant, the music was amazing, and the look of it was spot on.
My favourite line in a film (I've got loads but this one sprung to mind) is 'the Kandinsky is painted on both sides'. It's from Six Degrees of Separation (1993), a brilliant film where a young post-Fresh Prince Will Smith, plays a gay hustler in New York city. Seriously it's one of the best mainstream films I've seen and a real glimpse of the dramatic potential of Smith before he went into all that action stuff. It's a virtuoso performance and the script is next level. The line is one of the last in the film.
I think that'd be Salieri and Mozart in Miloš Forman's Amadeus (1984). The story goes that Salieri, driven to distraction and malevolence by the knowledge of his own mediocrity in the face of Mozart's genius, decides to kill Mozart. So in one sense you could class Salieri as the villain and Mozart as a kind of anti-hero, but I think it's actually more complex than that. In some ways you could argue that Salieri and Mozart (in the film at least) represent the two sides of any artist or creative person's psyche.
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