Writer / Director Peter Strickland on his haunting ghost story In Fabric



but just begin ads basking where the the idea thin fabrics or spawned from oh yes lots of places really I mean I love shopping it came from that more more than that other films that I think the high street is dying and I remember as a kid with department stores and so on and I had this always had an eccentric feel to them really this film is just kind of accentuating that to some degree but also I think clothing and you know I buy second-hand with this is this is the second out piece of clothing um and just you imagine you know what sweat patch was there before mine and what kind of person was that and he's gonna wear it after me and so on and so I I don't know just this whole chain of clothing only yeah I think just just people's reactions to clopin how so I think the idea of squeezing in a curse into this was all about people feeling empowered when their wears something people feeling inadequate when they wear something so we the Babs character and her body dysmorphia people getting turned on my clothing being disgusted by clothing like Marian when she has to deal with Gwen's underwear and she refuses to wash her so I think yeah and I think the most for me the most the strongest of a haunting was this dream Sheena has where just to clear up clear out the probably the Wardrobe of her mother who died so yeah it's just interesting how any human being could have a very strong reaction to a piece of clothing if it has a connection to a human being to another so another human being I am yeah yeah yes no there's nothing else to say I mean she's brilliant um taxi muffled my laughter sometimes when she's on just I think I think what she brought to it which I wasn't really aware ever since this wasn't so much in the script in terms of the tone of it but that a lot of the scenes when she's angry really had a comic side after she what she did that which I really glad that happened wasn't something I really pushed for but I think she's so good at kind of lowering her voice and that seething eyes that seething anger coming through so yeah we're very blessed to have absolutely and I absolutely love the film but I think it was when I saw it was a fourth film of the day and it struck me in fabric feels like the sort of thumb that should be watched on its own on one evening when it's so nice what's one thing about your opinions on festival culture and what you make of this kind of over almost the way we the way we be almost binge watch films but I've watched I've seen 28 since I've been here which is an obscene amount of movies of watching the space of four six days do you think that's quite an unhealthy way to take movies in them does it rate you as a filmmaker that you know people are seeing and it could be their fourth or fifth film of the day and perhaps their twenty-sixth of the course for a week for example well tough on me if they don't like it you know I should do better next time I can't blame it on a festival blame on the person who's tired I should do a better film that's just the way it is I mean everyone's different I I couldn't do that I could when I was younger I could watch you know three films in a row it's just no way I could do that now I mean even one film probably watch it for four different attempts so yeah I um everyone is different really um it's different for me as if you'll make it a festival where I I'm here talking to you and I can't watch you know climax or High Life but I need bees better than Clyde my some high life anyway so I said he's better than carnation high life it's not they're both brilliant um and that's one thing too because obviously just when we were speaking before this interview mentioned about the joy in watching movies in the cinema watching films in big crowds and I'm just wondering about cuz obviously Roma won the Golden Lion and Venice and that's the Netflix film and just your your thoughts on the kind of the future of cinema and how things are moving to streaming services and how you'd feel if you got told by one of your producers or the money men above you that your films going to be exclusive to it's a Netflix in a certain region in the world for example oh if I can make a film it's a good thing I think the wider question is how to afford to make films it's I mean that's I'm not an actor I'm not really qualified to answer that but it seems the DVD market is dying with events whether that money's being moved in streaming like that I don't know but um my d4 is the cinema I grew up that way so I guess I'm just old-fashioned whether that's again I think all these things are very personal and I think I think it's Tibet it's having a choice that's what it is stream if you want to stream go to Samar if you wanna have a cinema it's it's when something becomes a monopoly that's when it becomes an issue that if I want to go to Maplin by cable oh no I can't get a map it's I have to order it online and wait for the postman that's not the future I thought we were having of what the future was about being pluralistic and having choices and not having one dominant factor coming in so that's I was reading on the kind of vessel website that before I came out here or the different kind of briefs or blurbs on each movie they were descripted soon as they have on each page and yours what struck me was on they've mentions or three or four different filmmakers when I speak about yours in a sense it's almost like they when people see your work they're always looking for places you've drawn inspiration I just wondering where my fault where you do draw inspiration from sort of more so than anything else but who would you say is the the filmmaker that inspired you the most for this film you mean just I guess made yourself in your career really really impressed by filmmakers but there's no one single filmmaker it changes I guess at the moment my biggest influence my biggest influence is Helen Ketut and Bruno Faison II I was blown away by Amer and the strange Canoga bodies tears and Lucille has with this film there wasn't really thinking about films so much she was more shopping I just adored those department stores and I adored the catalogs and Keene Holt's sculptures with these scary mannequins I would take a lot of elements from films but not the kind of homes you would expect you know I leave the weapon where Mel Gibson's got this the bad guy in this leg lock I showed that to Richard he played mr. Lundy when he gets the shoplifter in this leg lock so little things like that I just say well have a look at this and but no I mean I have a big funds for a lot of Euro exploitation and that's for sure but it wasn't an overriding inference on this film but yeah I mean they're definitely shots in the film which echo other films but not there's no big you didn't feel like I was having any kind of big day at this time and the interesting thing is III thought I was writing something original and I realized it's about as derivative as you can get me the idea of a haunted piece of clothing and person to person but when I wrote it I thought awful once I don't say original because everything before that was purposefully steeped in genre tropes this was original because when I was a kid I used to hate going to the shops in the big department stores what was it that you loved so much then about about those experiences it's just like another world I always liked entering the world that's what I love about film I don't really I'm not much of a plot person is it you probably you probably guessed that but um for me atmosphere and character that's what always draws me into something with it music again it's about not having a good Tunis by hearing the great atmosphere entering this other world and so a shop can do that as much as a film can do that so this is not this is not criticizing the shops at all this is actually like a love letter to to the shops there was a there was a kind of a satirical element to consumers culture but not with the main characters Sheila deserves that dress and her death is not judgmental it's a it's a random force but the shops what I love about department stores is they're out of time I set this in the 90s they even though it feels like it's set in the 70s it was important that it set later on that you feel oh yeah these places don't change that much but the mannequins I found very scary when I was a kid but again this element where people were the movement of people's shopping the reactions people had when they come out of the changing room you have these very private intimate reactions going on in people's heads in the changing rooms and you don't always see those reactions but you know a lot is going on in people's heads just kind of a silly thing to say because that's something all the time but yeah but just that relationship between how people see themselves how they transform and how old or how they just look themselves and feel even worse and my final question is just about what's what's coming after you next if you started working yet on your and your fifth movie or trying to make this film for six years now and they just we just hit a stumbling block each time so it's it's written I just I'm gonna rodeo I think two powers to be baron in 2012 so but Juke overtook it in fabric overtake him so I might even write another film and overtake that when I wrote six years ago um I just don't know it's it's it's always the unknown when you make a film and you just have to be thankful that you made deform you've just done and be happy with that and and just keep going really as if you don't want me I some ways it that's holding that project back oh it's expensive it's set in 1980 in New York in a lot of gay nightclubs like male it's pretty much all all-male so I guess it's another niche filmmaking so it's just very hard to make a niche film which has a high bar but you know so what its life just you know I'm not gonna complain about it just go on with it but never six years keep trying yeah you guys hey you guys huh is that from the Goonies [Applause]

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