Interview With Michael Fausti following the world premiere of The Ingress Tapes.

 

How Did The Ingress Tapes Come About?

I was interested in making something more experimental in terms of visual style, as well as narrative structure and I’d been considering whether it would be possible to create a truly unnerving film without have any actors present. Then I had the opportunity to work with the source material used in The Ingress Tapes. The descriptions are so evocative, I knew that they would be strong enough to tell the story without recourse to shocking images on screen. Given that the events recalled in The Ingress Tapes took place in the past, working with a format like Super 8mm, which immediately connotes the past, seemed an obvious aesthetic decision.

 

When we’ve spoke in the past following the completion of your other shorts you’ve always spoken so clearly about the style you were aiming for and the methods taken to get there. What Were The Challenges of Shooting With The Super 8mm Format?

The cost of shooting on celluloid means that you really have think about your shots before hand and meticulously plan each shot, just pointing and shooting isn’t an option. The nature of the Super 8mm format, also means that you have to use more lighting than you necessarily would with a digital camera, particularly when shooting interiors. This can make set up times longer. Having said all of this the look I got from Super 8mm fitted perfectly with how I wanted to convey the narrative of The Ingress Tapes. I’ve long been a fan of Super 8mm film and analogue technologies because they enable an aesthetic which shooting digitally doesn’t. After the success of The Pyramid, I wanted to return once more to the lo-fi aesthetic of Z.A.F., so to shoot on film felt right for The Ingress Tapes.

 

Could you see yourself working on Super 8mm again?

Yes, but not for a while. It has to be the right project.

 

I Understand that The Ingress Tapes Has Already Had Its World Premiere?

Yes. That’s right. The Ingress Tapes was selected to open an experimental film festival at the historic Hackney Picture House here in London. Given that the setting of the film is London and all the footage was shot in south and east London, it seemed appropriate to have the world premiere here.

 

I Understand That There Was Some Discussion After the Screening which has continued online, As to Whether The Ingress Tapes is Fact or Fiction?

That did happen, but I'm going to leave that one open to the audience and their individual interpretations.

 

So, no clues whatsoever?

Nope. Sorry!

 

Okay! Without Giving Too Much Away, the Subject Matter of The Ingress Tapes Makes For Uncomfortable Viewing. Would You Say That You Are Drawn to the Darker Side of Human Nature?

 

I don 't know if I'm necessarily drawn to the darker side of human nature. Some subjects interest me more than others and some subjects lend themselves more to filmic exploration than others. For example, I have a feature that I’m working on and while it certainly explores human boundaries, it’s much lighter, funnier and sexier than anything I’ve done before.

 

I was going to ask you, what can we expect next?

Well, other than the feature I just mentioned, which I am working on with writer and creative collaborator Mathew Bayliss, I have two short films currently in post production which are set for release in Autumn 2017.