So the context for this photo, taken on Tuesday night — I heard from Brendan at Metal Edge that a small film company in the UK, Prism, was doing a DVD documentary on Nine Inch Nails, Trent Reznor and industrial music, having been commissioned by another firm to do so. I was intrigued and passed on my name, and soon Alec from Prism, who you can see there in shot, and I were talking online. After reading a positive review of Prism’s Iron Maiden/NWOBHM documentary by fellow ILX denizen/music writer Adrien Begrand I took that as a strong vote of confidence and our plans were set for Tuesday night filming.
Alec came down with his cameraman Pete (who took this photo — thanks again!) as part of the series of interviews they were doing throughout America, including Canada — turns out they’d barely had any proper food in a bit due to all the plane flights and running around so I directed them over to Taco Mesa first so we could have a good meal (and in their case, some actually good SoCal Mexican food for the first time).
Then it was back to the apartment for setting things up and filming — you can’t see the full setup in this shot but it was elaborate and quite imaginative given the circumstances. Since by default these kind of shoots mean working in a number of different environments, it’s no surprise that Alec and Pete had not only the equipment but the patience and time to work out best camera angles, lighting and so forth. Reminded me again how I really lack the patience for such work, I admit, so I was happy to let them do it!
Now, I’m under no illusions regarding all the filming we did — I’m one of many people, there’ll be a lot of editing, and if just a few comments pop up in the final product, that’ll be great. But it was good fun being asked to do something which I admit I love doing — going on about music a hell of a lot, in great detail — and since I’ve been a fan of NIN all these years, why not? I talked about concert stories, mass media contexts, the history of ‘industrial’ as a genre (I tried to emphasize a key point, namely that there is no way to describe said genre, and that it was in ways the success of NIN and Pretty Hate Machine in particular that fully codified a mainstream sense of what it was supposed to be, which Reznor’s essentially been kicking against ever since).
This went nearly up until midnight — I admit I was tired but Alec and Pete, jet-lagged to hell and back, were even more wiped — and they headed up north to carry on from there. Great folks! We idly talked over possibilities of future documentary appearances too at Alec’s suggestion — so we’ll see!
I’ll post details about the DVD when it’s available.