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And the Annea Lockwood was how to make a a cinematic portrait of someone that makes listening at the forefront. Seven Sounds was a way to test a lot of ideas and work with JD on how to combine sound and music and language and make people listen in an engaged way. Green: It’s like if an artist was making a big painting, sometimes they’d make studies, like drawing the hands.
Was this part of a plan, to build up to the feature with shorter works? And you’ve made a short film about the composer Annea Lockwood, who figures prominently in this new feature. So the multiple levels of allusion there tickles me in a way.įilmmaker: Two years ago at Sundance you presented a shorter work, Seven Sounds. And I’ve always liked that that the 32 Short Films about Glenn Gould is a reference to the Goldberg Variations by Bach, which is in 32 sections. I can only do it in fragments, a sort of collage of my own subjective sense of the experience of sound. I thought, I’m not going to make an authoritative film about sound, I can’t. The biopic is such a terrible genre in general, and what I love about 32 Short Films about Glenn Gould is that it acknowledges life - especially somebody’s like Glenn Gould - is way too complicated to reduce to forms. One of my favorite films - and this is probably not hard to figure out - is 32 Short Films about Glenn Gould. Green: I mean, sound is such a sprawling topic there had to be some framing device.
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I spoke with Green over Zoom a week or so before today’s Film Forum opening.įilmmaker: You’ve made a movie about sound, but why 32? Some showings feature a live mixer, fascinatingly used in ways we discuss below. For the Film Forum run, Green has brought a sense of experimentation to the movie theater experience, equipping viewer/listeners with headphones playing a binaural mix. In recent years, Green has developed his documentaries as live events, touring them to both film festivals and performing arts venues, where he does his narration live, and composers - previously in A Thousand Thoughts The Kronos Quartet and here JD Samson - play their scores on stage. That refusal to predetermine what messages might be conveyed by a particular sound serves Green well, especially when it leads him to a personal discovery that provides the film with an unexpected emotional climax. A Brooklyn man blasting Phil Collins’ “In the Air Tonight” at deafening volumes from his tricked out ride at 2:00 AM is an endearing urban eccentric, not an insensitive noise polluter. There is always human meaning and potential to be derived from the deconstruction of these sounds, never an urge to quiet. The film’s warm tone is established, as usual, by his characteristically inquisitive, wonder-filled voiceover. The numerical intertitling becomes more erratic, soon adopting a posture of “Who’s counting?” Ultimately, rather than being a collection of disconnected musings, 32 Sounds organizes itself around themes that resonate across Green’s whole filmography: memory, permanence and the myriad ways that humans both connect and register experience.Īs I note below in our conversation, when Green is listening, sound is never noise. And while the film begins with numerical title cards, and with the individual sounds - a bird’s lonely mating call foghorns in the San Francisco harbor at night a Whoopee cushion - registering discretely in beautiful essayistic segments, as it progresses the sounds begin to speak to each other. 32 Sounds, which opens today at New York’s Film Forum, announces itself as a sort of structural film, the reduction promised by its title signaling, perhaps, a succession of aural/cinematic miniatures laid out for us in feature form. For his latest documentary, ostensibly about the much larger and more amorphous topic of “sound,” Green has gone in the numerically opposite direction. Referring to an older Kronos composition, the title also spoke to the film’s approach, which was to use the music and biography of the Bay Area classical group to summon up a range of allusive meditations on ephemerality, culture, legacy and death. When it came time to title his 2018 documentary about The Kronos Quartet, director Sam Green chose A Thousand Thoughts. 32 Sounds, Documentary, Film Forum, Sam Green
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