{"id":8079,"date":"2014-12-01T14:35:26","date_gmt":"2014-12-01T14:35:26","guid":{"rendered":"http:\/\/filmcitybrighton.org\/?p=8079"},"modified":"2017-05-31T20:24:04","modified_gmt":"2017-05-31T20:24:04","slug":"barryadamson","status":"publish","type":"post","link":"http:\/\/filmcitybrighton.org\/barryadamson\/","title":{"rendered":"Barry Adamson – Brighton"},"content":{"rendered":"
\u201cBrighton gives you a nudge and makes you feel like you\u2019re not alone\u201d<\/em><\/p>\n Musician, filmmaker and writer, Barry Adamson is a latter-day Renaissance man. He talks to Film City Brighton about his twin passions, music and film, as well as the special connection he has with the city and the people that live there.<\/em><\/p>\n According to Adamson, \u201cfilm and music best describe the state of human emotion at any given time, they are a manipulative tool with which we can describe how human beings operate.\u201d<\/p>\n Inspired by the anarchic energy of punk music in the late 70s, Adamson learnt bass guitar and played with bands such as Magazine, Buzzcocks, and Nick Cave and the Bad Seeds. He has gone on to record solo albums and compose film scores, working with industry greats such as David Lynch and Danny Boyle.<\/p>\n <\/p>\n A pivotal time in Adamson\u2019s career was the creation of his first solo album,\u00a0Moss Side Story<\/i>, which he describes as a \u201cfilm score without a film\u201d. The listener is invited to imagine their own narrative for a non-existent film noir. The audacity of creating a soundtrack for a film that doesn\u2019t exist grew out of Adamson\u2019s own habit of visualising scenarios sparked off by the music he listened to.<\/p>\n The positive reaction to\u00a0Moss Side Story<\/i>\u00a0opened the doors into film scoring. Adamson pinpoints his time with director David Lynch on\u00a0Lost Highway<\/i>\u00a0as a masterclass in film making. Working alongside someone with such a strong idea of their creative objectives and how to achieve them enabled him to draw on that process in his own endeavours.<\/p>\n After this Adamson expanded his ambitions and \u201cmoved the goal posts\u201d. While continuing to make solo albums, he started to write fiction and his work was published in a collection of short stories called\u00a0London Noir<\/i>.<\/p>\n The idea of making a film developed organically as he fused his narrative ideas and his strong visual aesthetic with his love of music.<\/p>\n Directing his first short film\u00a0Therapist<\/i>\u00a0gave him the space and autonomy to develop his filmmaking skills.\u00a0 \u201cIt gave me the freedom to try things and see what it was that made them either successful or not so successful\u201d.<\/p>\n <\/a><\/p>\n Everything with Adamson is about progression and development, he is constantly moving forward to explore new and exciting avenues to fulfil his artistic drive.<\/p>\n But whatever he does next, Adamson\u2019s enduring fascination with music and film will continue to be at the heart of his work. He says: \u201cMusic is a powerful tool that heightens feelings and emotions, a perfect way to connect with something on a deeper level. Combined with image or film, music becomes a language that filmmakers use to speak to the audience on another level other than the visual.\u201d<\/p>\n Adamson has been a patron of Brighton\u2019s annual Cinecity film festival for several years. His second short film\u00a0The Swing The Lie and The Hole<\/i>\u00a0will be screened at CineCity in December. He has also composed the music for Cinecity\u2019s major film set installation of\u00a0Berg<\/i>, the rediscovered d\u00e9but novel by Brighton writer Ann Quin.<\/p>\n