We asked director Vincent Morisset (Arcade Fire's Mirroir Noir) to tell us about the look, feel, and inspiration behind Inni.
In 2008, Sigur Rós management asked me to archive the band's last shows. There was a sense of urgency. The future of the band after those shows was uncertain. Would that be their last performance? In that context it was important for me to document it in a direct and simple way. Focus on the details, give the time to the spectator to appreciate the virtuosity and the effort, understand the cause and effects, feel the unique energy of their performance. Rob Hardy [Director of Photography] and I decided to work with the other DoP instead of camera operators used to capture live shows. They were coming from fiction, documentary and art film. No crane, no fancy equipment. Just really talented people with light HD cameras and tiny surveillance cameras hooked here and there on the stage.
When I submitted the treatment to the band, I suggested to create hand caches and rhythmic effects with my fingers over the final edit. I was inspired by Neil Young, who recorded Dead Man's soundtrack by improvising on his guitar while watching the film. I thought that spontaneous approach was great and thought we could do something similar with post-production. Skip the computer effects and generate happy accidents. Karl Lemieux, a Montreal experimental filmmaker, helped me with this. After Nick Fenton and Stéphane Lafleur finished editing the film, we transferred the digital clip on 16mm film.
We laid down a big flat-screen on an animation bench and photographed the quicktime rolling with an Aaton camera. We printed a positive copy of the film and then projected INNI on a screen. With hands and different translucent objects in front of the projector's lens, we were able to distort and transform the image. The handmade effects were then recaptured by a digital camera filming the screen. The music was playing in the dark room. The whole process was instinctive. We shot several times each song and then re-edited the whole film with the most interesting moments. With these multiple generations of transfer we lost details in the image. The mood became dreamy, the gestures and compositions almost abstract. We never wanted to do something retro. For us, it was about taking advantage of the best of two worlds. For the animation interludes, Olivier Goulx, Raoul Paulet and I also worked with our hands, recreating in a living room natural phenomena that echoed the visuals from the tour. Raindrops done with broken mirrors, clouds in aquarium, flashlight tricks, etc...
In the end though, what we wanted was to translate the intensity and immense beauty of the Sigur Rós live experience.