How do you seize the mercurial character, the elastic creativity and the prolific and endlessly creative output of an artist akin to Brian Eno – member of Roxy Music, producer of David Bowie and others, musician, activist, artist – in a traditional documentary? The reply, as director Gary Hustwit realised, is that you may’t. The normal method of the typical music documentary – a dutiful plod by means of talking-head interviews and archive footage – may pin down a number of of the biographical information of Eno’s life and work, nevertheless it might hardly be additional faraway from its spirit.
And so Hustwit, who first labored with Eno in 2017 when the musician created a rating for the movie Rams (in regards to the German designer Dieter Rams), determined to suppose exterior the field. The result’s a unprecedented work that takes its cue from Eno’s auto-generated musical initiatives. Utilizing specifically developed software program (dreamed up in collaboration with artistic technologist Brendan Dawes), Hustwit has created an exhilarating and progressive cinematic expertise: a generative movie that’s totally different each time it screens.
It proves to be a uniquely difficult venture to evaluate – the model of the movie that I considered won’t ever be seen once more. My iteration, wherein David Byrne and Speaking Heads featured prominently, was considerate and philosophical; I think about there are way more angular and abrasive potential variations (I’d be fascinated to see an incarnation that touched on Eno’s tough collaboration with Devo, for instance). What is especially hanging, nonetheless, uniting most critics thus far, is how elegantly the movie flows; there’s a curious, intuitive logic weaving collectively these randomly chosen scenes and clips. It’s an excellent achievement.
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