Our Artistic Director of Film, Jason Wood, caught up with actor Toby Jones ahead of the release of his latest film, By Our Selves. A collaboration between artist/filmmaker Andrew Kötting and writer/psychogeographer Iain Sinclair, the film retraces the journey of 19th century poet John Clare, who travelled on foot from Epping Forest to Northamptonshire.
Prior to collaborating with Andrew and Iain on By Our Selves, how familiar were you with their work?
I was more familiar with Iain’s work than Andrew’s. Iain is hard to avoid if you live in London as his reflections on the geography and history of the capital are ubiquitous. I had seen Andrew’s film Dead Dad – or a bit of it, at least – and obviously some of those themes have persisted in By Our Selves. I had heard about Andrew from a friend who’d worked on This Filthy Earth in the costume department. It sounded so interesting that I got her to smuggle a photo of me into his office. I think he remembers the photo lingering on a pin board for some time, but no contact was made. One of the joys of making Andrew’s acquaintance is the stream of film, photography, music and writing that now flows in my direction, via packages and attachments that are all very welcome.
I imagine the shoot was a little different to what you may have been used to. I know that Andrew likes to work in a very collaborative spirit and wants to create a good atmosphere on set. He is very keen on happenstance and introducing happy distractions and occurrences into his films. Is this a liberating way for an actor to work?
It’s a refreshing way to work. Everyone lives and moves as a highly mobile unit. Every film set is different and to an extent the culture is determined by the director’s energy and spirit. Andrew sees the shoot as the time to try everything, and he is highly active in front of the camera as well as behind it. There is no monitor. There is no video village [an area in which viewing monitors are placed for the director and production team]. The reflection comes later in the edit, I suspect. He makes spontaneous, instinctive decisions in the moment, and encourages everyone else to do the same.
I love the fact that Andrew’s films have a life beyond their screenings, existing as books, installations and exhibitions. Is this also exciting for you?
Yes, Andrew’s ‘DVD extras’ extend into exhibitions, publications, concerts and happenings. Actually, it seems more obvious to work this way. I’ve always thought that a single film that may or may not work is quite a miserly return for the huge amount of creative and imaginative energy that goes into its production.
How did you research John Clare’s journey and his personality? What aspect of his spirit did you most want to capture?
I knew that this would not be a piece of naturalistic film. I read Iain’s book, Edge of the Orison, and reflected on the strange interventions that John Clare has made in my own life. My father always felt a strong affinity with Clare, both as a poet and a man. He played Clare on several occasions, and I have watched that interpretation and also listened to my father discuss him, throughout my life. So in some ways I was thinking about my father as much as I was imagining Clare.
The film is a real gift in that it sees you collaborating on screen with your father, Freddie. Was this an opportunity and an alliance to cherish?
Producer Gareth Evans introduced me to Iain and Andrew and they proposed the recreation of the journey. Almost immediately I mentioned my father’s passion for Clare. He can recite tracts of the stuff from memory (as we almost see in the film!). I felt very strongly that they should go and meet my father. I seem to remember that this connection triggered a whole series of ideas about young Clare/old Clare, Krapps Last Tape, bowler-hatted tramps and straw men. I knew that my father would enjoy their company, enthusiasm and energy. Obviously we never appear on screen together, but there are sequences in the film that I find very moving as I watch my father’s face ripple and snag on the challenge of reading and remembering.
Finally, I have always admired your continuing commitment to independent productions such as this and Peter Strickland’s Berberian Sound Studio. Do you feel that it’s important to continue to support such productions, and is it difficult to balance these projects with higher profile and financially lucrative work?
It’s hard to find an unpredictable answer to this question. I have a hunch that I’ll keep developing as an actor if I can stay curious and daunted – even confused. And I owe it to my children to earn a living. It’s a great privilege to be engaged in a job that provides such contrasting work places.
By Our Selves screens from Fri 2 Oct. We preview the film, and host a Q&A with director Andrew Kötting, on Wed 30 Sep. Click here to find out more and buy tickets.