As I edit NAKED, my 2017 short film, based on my book Consanguinity Disruptus, I get a sense that sound is still my guide. I tell a musician friend about this and he relates to the antithetical (for me) approach to the life of the footage. I’m exploring the rhythm of the project through the aural universe even more deeply that is ascribing itself to the theme, sexual taboo.
The sound friend is in Kurdistan. He’s completely jet-lagged and making more sense than me in my desert cocoon as he points to the correlation between alterity and my interrupted process of attending to visuals first and foremost. This procedure is something I practiced in film school and come to think of it, is possibly at my near expulsion from the program and its agenda of linear storytelling.
Another musician friend, Ralph’s eclectic approach to the contrabass is planted at the bottom of the audio sequence in my Premiere Pro project. The deep drone of his woodwind recording adds a precipice from which the visuals can jump. The end goal is to achieve a level of horror, a self-disruption through which sexual taboo leaches shame into the framework of the narrative. So far, I feel pretty uncomfortable with the first two acts of the “realms” structure. This antithetical approach to stability is meant to disrupt cultural conformity I may be hanging onto, yielding inner congruence for the filmmaker, and, if I’ve done my job, giving the viewer a visual and aural handle from which to hang.