Four Accounts from 26th October 2004

Posted by on Apr 26, 2010 in Loetzinn | 2 Comments

Four accounts from the same day in October 2004 whilst working on Loetzinn.

1. A message to Hana Prowse, the Creative Producer of Loetzinn

Hi Hana,

I have just seen the film with some sound on it and the music that has been recorded. I think Chris has already sent a copy with video to you but Steve has been suffering with a lethal dose of the common cold, so i’ve only just recieved it.

The sound is rough but im pretty pleased with certain bits already such as the hammer braking and the ball bearing clunk/plunk sounds. The music is not completed; there are more sections to record and this seems to be a straight from the desk mix. Already i feel that the music really makes the film shine and I recon my persistance in having biff work on the music was worth it, I hope you agree.

I think it does pull the story together a lot more and where there is still no sound the flow is lost again. I’ve not watched it with Biff yet but i’m pretty sure he’ll want to add some smaller nuggets of music in places where there wasn’t going to be any. We were hoping that the sound effects might add the drama needed in the fight sequence and that less might be more here. Im not sure after seeing this with sound, not saying that the sounds aren’t good enough but im just not sure they could. I don’t know, I think biff would like your opinion on this and Jane’s as well.

Im off to Norwich today to work on some changes with Chris. We have discussed all of the points that have been raised by Jane and Becky and we’re going to discuss further and test some new ideas out.

We’re going to exchange the split screen for a simple cut, but this is’nt necessarilly a permanent edit. We have had mixed feedback about this shot and have already deliberated whether or not to put it in. Even the storyboard had notes about the shot as we weren’t sure about it then. So we completely understand this comment and we are going to take another long look at it and decide what will happen.

We are probably going to put some cuts into the dying sequence. Perhaps in the last panic attack part to give it more of a panic look. I know close ups here will work but did you have any more comments on this, maybe some other ideas to throw into the mix.

We don’t feel the internal scene is to slow, this scene has been slowed down from its original length because it looked a little like fast forward mode. I’m not sure if Becky might have meant the part where the camera rises up the cannon? Steve suggested a long drawn out sound to transition from inside to outside would be very effective, one of those sewer pipe style reverberating sounds. I think this will work as well, not sure why I mentioned it really; was there any feelings that the inside cannon barrel shot was too long?

The one major element that me and Chris don’t want to change that was mentioned is the city scape. We understand the comments made but we are very happy with the less built up style. We feel it adds more of a ‘watcher’ presence to the buildings.

One problem we have had for a long time is the ‘opening mouth scene’ where macs flipper comes down and the two boats drift apart. This part is supposed to look like the boats are saying “f**k it” they’re both weak and realise they are just damaging themselves. We know it’s still a little confusing but it’s hard getting emotion from so few moving parts. As it is it mostly seems like a device to let Pop-Pop shoot him in the belly, and it is but we wanted it to look like when two soldiers stop to catch breath and one drops his sword almost like a ‘giving up’ statement. We are hoping that Steve will be able to make a ‘hmmph’ kind of sound to reflect this feeling and that everything will fall into place but other than that we have no solutions. If you have any suggestions they will be gratefully recieved.


I will be in Norwich until the end of the week so if you have any suggestions or ideas send them as soon as possible and we will be able to get you some visual feedback by the start of next week.

Biff says he’s feeling a little out of the loop as no-one’s commented on the music yet or even been in contact with him since we met in Brownes. Seeing as he composed the music on his own in an empty room sat on a leather studded chair and used an apple, a fretless bass, a guitar, a wine glass orchestra and a junior hacksaw, it might be nice to give him a call just to let him know he’s not been on acid for last couple of months.

I haven’t got Janes or Beckys e-mail addresses so if you could forward a copy of this mail to each of them as soon as possible that would be great. Also if you could send me their addresses as I need to talk to Becky on another subject anyway.

Another note is that my phone has kaput so if you need to contact me for the moment it will have to be e-mail or to phone Chris. I will let you know when I have a new phone. Also could you send me a message as soon as you recieve this message, cheers.

Many regards

Aaron Bradbury

2. An anonymous unsent email

I smashed my phone and it broke and then i became unwell. ive explored connections with the fluxus movement as you suggested and i found connections between alan kaprow and john cage. After my meeting with knowledge a good friend sent me the most perculiar image of man with a beard of rope, once again you sprang to mind as I made yet more connections between meta searches and the people I choose to liase with.

The vision has returned; a mobile phone, throbbing like an excited member (Cronenberg comes to mind) ridden with desease is cries in a monotone kind of way. You move accross the sepia toned workshop tripping on acid and sweating like you think you’re having a heart attack, and thinking I wish I was as sobre as i was about 2 hours ago and by this time the baby has gone (the phone was also a baby) but the whole mental state that this vision brought is still [basically it was dying and that is freaky first person shit(even without special effects and Dolby surround sound)]there but now the amnesia panic, like you’ve left the cooker on but you cant remember what it was. So you move some of the space jank thats lying around and turn on the tele. As you sit down you the thought pops into your mind about being the subject of a television show or a scientific experiment (the trueman show concept). The problem is that you know that in this fragile state you could dwell on this concept for some time. Closing your eyes as a means of ignoring something physical is a good solution (mentioning a positive word like ‘good’ would normally have been edited out in this script because i’m trying to explain something sinister and build the suspense for my drug abusing target audience, but it also has given me the chance to add this note about such deliberation processes and add to the spaghetti like structure which seems to be unfolding at my finger tips) but when it comes to mental things it’s just a means of shutting out the distractive world and leaves you in solitude with just this thought. So you don’t do that…

3. A message to Biff, the musician for Loetzinn

//message for biff from the tomorrow man

hey biff,

Wicketey wam bam muther fucker what the fuck is going dow in the proverbial ‘groove’ town? I know this screen is full of writing but I also know that this might phase a lesser man and that lesser man is not you. So read on muther fucker cos life’s too short to be reading this shit blurb that comes with every corporate hand shake and smile… I know… if you skipped it your heart would have missed a beat.

The Blackman has sent the rough soundtrack and i have listened to it with the film. It’s not finished but it is pretty good in places. The corporate hand under the mask of lies has told him to hang fire so there isn’t much there.

You should come round and have a peep. I reckon you should add some more sections of music if you got time cos the bits that seem to shine to me are the start and end where you’ve added a heavy dose of emotion to it. We’ll have to watch it together and see what you think.

Maybe some little nuggets of string sound. I just thought… maybe the bit where they drift apart after the hammer attack and when Macs Flipper falls down: this bit has been confusing for a long time but me and the hoonster haven’t known what to do with it… but do you recon you could create a feeling of ‘oh fuck it’ with the music? We’re trying to get Steve to make the foley sound a bit more like a ‘hummff’ so this might be enough. I don’t know.
The fight sequence sounds are good. There’s no squeak sound yet, which is a shit cos this sound is mega important, but what can you do?

Hows things with Laura (not my Laura).. hey me and you both have Lauras. Thets some fucked up shit right there. That muther fuckers rubble! tumbling down, the walls of fear and… stop(); gotoAndPlay(“closing the deal”)
Okay, i’m off to Norwich today but i’ll be back at the weekend if you would like to know the real deal.
Say hello to Laura (not my Laura) from me and stay on top.


What the fuck?

4. A conversation with Ben, a good friend of mine

Aaron says:
Aaron says:
mine bitte ist unt mouch-hunt
Aaron says:
ya das is meine lieb lings
mine liber anne dros bunten schrow, draken bit rouge?
Aaron says:
Marie ist unter die rotten lichtch… wie alt bist sie?
Fumph tag, dogger, fumph tag! Bitch-zein!
Aaron says:
schneller stackunker das losse! Scwull.
Aaron says:
und zwiete
fucking nazi
Aaron says:
Aaron says:
Aaron says:
wo ist Clamson
Aaron says:
Aaron says:
Aaron says:
Aaron says:
I cant get on the internet for some reason, Iall I can do is get on messenger. I want to check my mail. I’ve got to go do shome shit……….. are you gonna be around all day?
Aaron says:
Aaron says:
hows the nose?
are you in a gay club?

Aaron says:
my gay club is having a party tomorrow and i wanted to invite you… I thought it might be good for you to meet some people. You know
Aaron says:
a lot of emot in that con
screw you benny, I’m off to shoot the shit with my boss, “give me a pay rise and some new shoe!”,
back in 20 mins…..
Aaron says:

The following message could not be delivered to all recipients:

And that was that


  1. Biff
    April 27, 2010

    I don’t think I got that call. I was sure I’d taken pictures of the two-day recording lock-in, but they’re not in my archives. What’s Loetzinn anyway? Who am we?

  2. Aaron
    April 28, 2010

    “Already i feel that the music really makes the film shine and I recon my persistance in having biff work on the music was worth it, I hope you agree.”

    I still agree with myself there. Are you doing your proud face?

Leave a Reply

%d bloggers like this: