Films : Black, White & Green – the way of pie : all

animate! synopsis

In the setting of a traditional London eel and pie house, solitary diners ponder their steaming dinners, each glimpsing a personal landscape within the food on the plate.

Black, White & Green is a meditation on the aesthetics of pie, mash and green liquor, an exploration of the terrain and a revelation of what wriggles just below the surface.

one sentence synopsis

What do YOU see in a plate of pie and mash?

long synopsis

In this world of marble tables, etched glass and tiles the humble London dish of pie, mashed potato and thick green liquor acts as a catalyst for excursions into memory, fantasy or to places best forgotten.

Black White & Green is a meditation on the pie and mash aesthetic – an exploration of the terrain and a revelation of what wriggles just below the surface.

key credits

director
Ian Bourn
writer
Ian Bourn
lighting camera
Patrick Duval
digital effects
Asher Edwards
Max Horton
compositor
Daniel Saul
sound designer
Graeme Miller

Ian Bourn

biography

Ian is an established artist, working in video since 1978. The East End of London, where he was born and still lives, is also the site of his work. In 1985 he founded Housewatch, the artists’ group specialising in public film events.

His films draw on characters from his past and present, their language and sense of humour, to create fiction and metaphor that has an authentic ring to it.

Recent video works include Monolog and The Kiss . Computer imaging is a significant departure for his practice.

September 2003

filmography

Lenny’s Documentary 1978 B/W video 45minsThe End Of The World 1982 Col video 10minsSick As A Dog 1989 Col video 25minsOut Of It 1991 Col video 1minBreathing Days 1992 Col video 14minsMonolog 1998 Col video 46minsThe Kiss 1999 Col video 5mins (also gallery installation)Alfred Hitchcock 2000 Col video 26minsBlack White & Green 2003 Col video 7mins

a film by Ian Bourn

direction

director
Ian Bourn

script

writer
Ian Bourn

cast in picture

players
John Ellis
Dave Bourn
Eileen Bourn
Elaine McIntyre
Yoshimi Kihara
Alan Freedman

live-action personnel

lighting camera
Patrick Duval

image personnel

digital effects
Asher Edwards
Max Horton
compositor
Daniel Saul

sound personnel

sound designer
Graeme Miller

support

primary funding

An animate! production through Finetake for Arts Council England and Channel 4

© Ian Bourn 2003

film still: *Black, White & Green* title card

Black, White & Green title card

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film still: “It’s definitely a horse. It _is_ a horse. Definitely… Look at the shape of the head.”

“It’s definitely a horse. It is a horse. Definitely… Look at the shape of the head.”

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film still: “It’s not everyone’s cup of tea but I like miniature villages.”

“It’s not everyone’s cup of tea but I like miniature villages.”

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film still: “The best time is in winter…. That’s when it does you the most good.”

“The best time is in winter…. That’s when it does you the most good.”

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film still: “At an appointed time, after a certain number of days, after work and before what you are going to make of the evening…”

“At an appointed time, after a certain number of days, after work and before what you are going to make of the evening…”

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film still: “It’s that lull between the schedules, when there’s pleasure to be had in allowing yourself to be administered to.”

“It’s that lull between the schedules, when there’s pleasure to be had in allowing yourself to be administered to.”

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film still: “... And there is a cowboy.”

“... And there is a cowboy.”

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film still: “Slide along… Don’t worry about a knife. You won’t need that.”

“Slide along… Don’t worry about a knife. You won’t need that.”

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film still: “You sit in the relative peace and calm, contemplating your untouched dinner… Its virgin landscape.”

“You sit in the relative peace and calm, contemplating your untouched dinner… Its virgin landscape.”

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film still: “Pies are not cut. They are broken.”

“Pies are not cut. They are broken.”

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film still: “Remember. Vinegar is unavoidable.  Without it there is nothing.”

“Remember. Vinegar is unavoidable. Without it there is nothing.”

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film still: “The green is the chopped leaves of parsley…”

“The green is the chopped leaves of parsley…”

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film still: “... held in suspension.”

“... held in suspension.”

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film still: “It’s the whole world on a plate.”

“It’s the whole world on a plate.”

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film still: “Elephant. Mammoth. Africa.”

“Elephant. Mammoth. Africa.”

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film still: “It is not England, I’m sure. It could be Italy I suppose but…”

“It is not England, I’m sure. It could be Italy I suppose but…”

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film still: “There is a group of people sitting on the rocks by the shore…”

“There is a group of people sitting on the rocks by the shore…”

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film still: “... and they are all looking at the boat.”

“... and they are all looking at the boat.”

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film still: “And behind those people is a wavy expanse of big fat rocks.”

“And behind those people is a wavy expanse of big fat rocks.”

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film still: “And everyone was running towards the sea except me…”

“And everyone was running towards the sea except me…”

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film still: “Looks very hot there… Very hot…”

“Looks very hot there… Very hot…”

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film still: “I couldn’t get away from it quick enough…”

“I couldn’t get away from it quick enough…”

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film still: “I can see a block of flats…”

“I can see a block of flats…”

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film still: “The basement… Into the basement.”

“The basement… Into the basement.”

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film still:

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film still: “I’ve got no idea how you get rid of toads. There’s no such thing as toad poison is there?”

“I’ve got no idea how you get rid of toads. There’s no such thing as toad poison is there?”

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film still: “I just felt myself being pulled over… over the edge…”

“I just felt myself being pulled over… over the edge…”

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technical

process summary

A combination of live-action, shot on DigiBeta, and digitally-recreated 3D space.

Black, White & Green is a mixture of live action and computer generated imagery, with real people and food shot against blue-screen and composited into an imaginary restaurant environment created in a 3D graphics program. The close-up food shots were done using a borescope lens and the ‘animation’ of the food was in fact filmed ‘live’ and moved by means of (off screen) forks and spoons.

The voice over narration is that of the author (Ian Bourn) and contributions by the participating actors, who were responding to images of pie and mash dinners and asked to describe what these images suggested to them. The sound recordings and the overall sound design was devised by sound artist Graeme Miller.

master copy format

format
DigiBeta
colour or black & white
colour

video distribution format

video format
DigiBeta
screen aspect ratio
16:9
video standard
PAL
sound type
stereo

distributor

LUX
info@lux.org.uk
+44 (0)20 7503 3980
www.lux.org.uk