‘Epiphany’ dir. Christopher Lutterodt-Quarcoo
A short film and interactive installation that plays with the perception of time, entering the psychological position of an artist.
Writer-Director: Christopher Lutterodt-Quarcoo
Art Director: Efe Igbinadolor
C8: Where did the idea for ‘Epiphany’ come from? Did you always envision it as an interactive installation with the short film coming later?
CLQ: ‘Epiphany’ was originally inspired by Ben Tyers kinetic sculpture ‘Breathe’, I liked the way it coerced me into synchronising to its movement. From that I wanted to explore the extent of imposed empathy on an audience. Initially, yes I wanted to explore the possibility of manifesting an emotion or moment in time physically, at the time filming was only for documentation.
C8: Tell us about the installation. What was the space like and what was the interactive element?
CLQ: As an installation ‘Epiphany’ was set up in three rooms representative of states of mind; limbo, expectation and exhilaration, with sound design as the thread navigating the audience through the mind states, fluctuating in volume as the audiences maneuvered. It was only at one moment did the perception of time synchronise across all spaces, the Epiphany.
C8: How do you think the installation helped you shape the short film?
CLQ: Constructing ‘Epiphany’ as an installation helped me map out the moments in the journey, you could say it was a physical storyboard; the process was almost a film theory exercise.
C8: What works from photography, art, film or literature were influences on ‘Epiphany’?
CLQ: Majority of the influences of on ‘Epiphany’ derived from scientific literature on the psychological power of words, specifically ‘Haptic Metaphors’, technically inaccurate but its suggestion is what translates into a relatable understanding. As well as Kyle Coopers ‘Se7en’ title sequence among others, being a definite influence
C8: Many of your films take abstract concepts such as time and make them tangible. Why is this a reoccurring theme?
CLQ: Time is taken for granted with the consolidation of memories and experiences into digital devices, you could say we as a society are missing the aura of physical documentation; it’s the visceral interaction that I’m trying to capture in every story I tell, nostalgic in one sense but hopefully reengaging numbed senses.
C8: What has the reaction been like to ‘Epiphany’? How has it differed between the installation and short film?
CLQ: According to the feedback I’ve had on the two incarnations of ‘Epiphany’ the film was the most successful in guiding the audience through the narrative, as it progressed the narrative fluently, but the installation was the most immersive as the audience are experiencing three different mind states, but the transition between them wasn’t smooth, maybe that was a good thing.
C8: As well as film you work as a graphic designer, how do you feel that each discipline informs the other?
CLQ: I tend to do a lot more than graphic design, at the moment and it’s a great way to escape the long process of filmmaking or installation design. I’ve found that it reinvigorates my addiction to complex narratives.
C8: You’ve worked as a graphic designer on corporate projects. How does this compare with your artistic work?
CLQ: My approach to corporate and art projects are the same way, the intention is to investigate and expose the integrity of each idea and metaphorically articulate it to the audience.
C8: Do you feel that all filmmakers should dabble in another creative art form?
CLQ: A lot of filmmakers are capable of dabbling in other creative departments, the obstacles are the same; lighting, composition, timing etc. It’s not a coincidence that the most acclaimed creatives have crossed borders, the question becomes do they want to?