First of all, the BBC Panorama 3-hour interview from decades ago with Orson Welles is required viewing for any serious artist.
Next, the Chinese Whispers recording methodology used for the project is reminiscent of the story of how Orson Welles came to discover the book “The Lady From Shanghai” and then sell the movie idea to the film studio. The Chinese Whispers methodology is something I’ve evolved over the years, starting with the two pale boys project. A musician presents me with an idea. I “adjust” it and pass it on to the next person who adds to it who passes it back to me and I “adjust” it and pass it on to the next person. Around it goes.
Next, I determined early on that this project was to be the Pere Ubu dance record. Whatever that might mean in the end. As I thought about the implications of this notion it came to me that the fundamental flaw with all dance is that it encourages the body to move without permission. This would have to be fixed… whatever that might mean. Welles’ movie is a collection of dance choreographies to my eye. I loved the angularity of his “dance” sequences and wanted to somehow incorporate them into the eventual live show.
Next, the hall of mirrors finale to the movie is always in my mind.
Tags: Hearpen, Hearthan, Lady From Shanghai, Pere Ubu
