FEEL­ING, HEAL­ING, PLAY­ING

When his son trag­i­cally died, Nick Cave turned to film as a means of ex­pres­sion. The re­sult, show­ing for one night only, will give you chills

The Gold Coast Bulletin - Play Magazine - - MOVIES -

Nick Cave turned to film and mu­sic to ex­press how he felt fol­low­ing his son’s death, says the di­rec­tor of One More Time With Feel­ing, An­drew Do­minik.

He says Cave in­sti­gated the cre­ation of the 3D black-and­white fea­ture film, which has a fo­cus on mu­sic from a new Nick Cave & The Bad Seeds al­bum, Skele­ton Tree.

Cave’s 15-year-old son Arthur died last July after fall­ing from a cliff in Eng­land, where the fam­ily lives.

“When Nick ap­proached me about mak­ing a film around the record­ing and per­form­ing of the new Bad Seeds al­bum, I’d been see­ing quite a lot of him as we ral­lied around him and his fam­ily at the time of his son’s death,” Do­minik says.

“My im­me­di­ate re­sponse was: `Why do you want to do this?’ Nick told me that he had some things he needed to say, but he didn’t know who to say them to.

“The idea of a tra­di­tional in­ter­view, he said, was sim­ply un­fea­si­ble but that he felt a need to let the peo­ple who cared about his mu­sic un­der­stand the ba­sic state of things. It seemed to me that he was trapped some­where and just needed to do some­thing ... any­thing – to at least give the im­pres­sion of for­ward move­ment.”

The di­rec­tor had an am­bi­tious plan to make the black-and-white film 3D, but the mu­si­cian wasn’t on board with that idea at first.

“I took the record away and lis­tened to it try­ing to work out a way into the whole thing. In the end I agreed to do it if I could shoot it in black and white and 3D. Nick’s re­sponse was: `I f***ing hate 3D’ or some­thing like that,” he says.

Cave had taken some con­vinc­ing to un­der­stand Do­minik’s vi­sion for the spe­cial project.

“I showed him old blackand-white pho­tos viewed through a stere­op­ti­con from the 50s. I told him I wanted to make a film where these sorts of pho­tos came slowly to life.

“I felt that the stark black and white and the haunted drama of these 3D im­ages per­fectly ad­dressed the dis­em­bod­ied sound of the record and the weird sense of paral­y­sis that Nick seemed to ex­ist in at the time,” he said.

Do­minik built a spe­cial, large and un­wieldy cam­era to achieve the eerie ef­fect he was ul­ti­mately after.

“No one has ever seen a 3D black-and-white non-an­i­mated fea­ture film in mod­ern times – for as far as I know, no such thing ex­ists. It is both mod­ern and from a dis­tant age – much like the Nick Cave & the Bad Seeds new record, Skele­ton Tree, ac­tu­ally,” he says.

It seems the fin­ished prod­uct proved a bit dif­fi­cult for Cave to watch.

“Nick came to Los An­ge­les and watched the film. His re­sponse was ob­vi­ously con­flicted. How could it not be? In the end he said: `Leave it as it is’– which we did. He said that it was ob­vi­ously `made with love’ – which it was – and fi­nally, `to make sure they see it in 3D’.” One More Time With Feel­ing screens glob­ally to­day and Skele­ton Tree will be re­leased to­mor­row

Pic­ture: Nick Cave & The Bad Seeds/Face­book

A scene from One More Time With Feel­ing.

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