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Started by cheyler, July 15, 2015, 20:19:27
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QuoteWhen 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. 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.
QuoteWhile Dominik's film is very much about the music, the personal insights are what make it so satisfying. The broad spectrum of coping mechanisms for surviving grief is evident in the touching contrast between Nick's insistence that trauma is not an inspiration but an impediment to the creative process, while Susie finds work necessary in order to move forward. She's seen constantly rearranging the furniture and attending to her projects as a designer, working on a collection that reinterprets the sister-wife prairie dress.Both Nick and Susie Cave are reluctant to put the enormity of their loss into words, but it's written on their faces as clearly as in the shattering Skeleton Tree songs. Aside from being heard asking the occasional tentative question, Dominik doesn't push them. But there are wrenching moments such as Susie showing a painting she found in storage, done by Arthur when he was five, of a windmill near the scene of his death. And Nick's sense of helplessness is apparent when he talks about not knowing how to respond to a local shopkeeper asking, "How are you?" Or crumbling in tears in the arms of concerned strangers. "When did you become an object of pity?" he asks himself. For an artist who has always inhabited a persona, the intimate exposure here is quite startling.