Shuffling the deck

Like, this is the advantage of this new era where I can do this obsessive bedroom pop and record all these sound objects.

Everyone uses trunk tunes, but for me the best thing about my films is that they're able to be arranged and re-arranged to form new meanings. That's the goal of film programming (like every buff, I'm an amateur programmer). - My view is that my process is very much taking people behind the scenes, though obviously they're not actually cutting in the room with me or composing in that way. For example, I released an assembly cut, and I was sort-of hoping that people would then look up what that meant, and therefore learn a little about that process. For those who were confused, an assembly is all the footage laid out from start to end in the edit bay, and that's usually several times longer than the film. Usually people choose a take rather than assembling all the takes, but even that varies. To use an example, Peter's Beatles film had something like 60 hours of raw footage, and the cut of that which he watched/assembled is what we'd call an assembly. - I think that as a teacher (thought I'd really say that I'm more like an arts communicator). I'm doing better online, but sadly that's not renumerative. Nobody's really asked me to train them as a composer -- I mostly teach guitar. Sasha asked for advice on her songs, but Nico didn't. I've got my theory books from Geoffrey Coker's course, though. - Like Ant and all the film buffs, I've got that attraction to the classic double feature as a really sacred or important idea of what theatrical film exhibition is all about. So that's an A feature and a B feature plus newsreels, cartoons and short serials. I've tried various versions of that idea before, and that's what the Orgies came from, but this combo might actually be something to consider exhibiting.