Interview: Poppie Sköld
Poppie Sköld is a filmmaker/documentarian/visual artist from London. She was worked professionally since 2008, and her commissions include live performances, club adverts, and a music video & tour documentary for Mercury Prize nominated band The Invisible. She has covered the In The Woods and Stag & Dagger music festivals, and filmed the likes of Anna Calvi, Laurel Collective and Micachu & The Shapes. In addition to her music related projects, her work includes political interest pieces, video profiles (Tokyo, Sweden, New York), scripted shorts, and even an interview with late Slits’ frontwoman Ari Up (when Poppie was just 18!). In 2011, this young lady hits the streets of London buzzing with ideas, trusty camera in hand. This interview, conducted via e-mail and between editing sessions & shoots, marks the beginning of a very big year for Ms. Sköld.
Can you remember the first time you picked up a camera? How has your setup changed in the 20-odd years since?
Nope, not really – but I do remember always recording stuff on tape and vhs. I loved collecting music and video to watch and listen whenever I wanted. I first laid my mitts on videoing when I was 18. I got a second hand camera in New York when I was over there for the summer and it’s still what I use today. I’ve since setup my own edit, which has focused my filming into filmmaking. It’s all good kit and adds a strength into what I do.
How has your hometown of London influenced your view on the world, and subsequently, your art?
I think it’s all about balance. Old vs new. Interiors and exteriors. There’s always the other side of the coin. You think one thing, then you’re proven another. Same with storytelling, on the outside it looks like this, but once you get in and explore it, it looks completely different. I’m fascinated by reality and want to know how and why it all exists. The opening towerblock scene of Wings of Desire comes to mind. But that could said for many major metropolitan. What I love most about London is the Londoners. Pissed off, feisty, but always up for celebrating. There’s so much going wrong out there that I think you need to be on the case of what’s right, and then you go to the pub for a pint ; )
There’s also a lot of spontaneity in London. You have access to so many different experiences and the opportunity to take them somewhere. But if you haven’t got any direction you can get lost in the self-indulgence of it all. Seeing so many different lifestyles in close proximity also shows you how the world works – but also how it doesn’t. Equality is pretty much at the forefront of my mind, so I’m motivated into making films that promote things not in the forefront.
Concerning your education in drama (at University of Bristol), how has it come in handy when shooting largely in a ‘fly on the wall’ observational style?
The last two years of editing experience has shown me how the moving image works and what is needed in the edit, which has made me more practical. My art training at school – all the still life drawings and portraiture experience – that’s what comes through when I’m framing a shot. My drama degree taught me how to engage with my creativity and grounded an understanding of storytelling. Only feel like I’ve just started to tap into that though.
Was it a natural transition to filming bands? How exactly does one get their foot in that door?
Filming live bands was part of the start as I acted as second camera for Punkcast.com a few times, when I first got my camera. I didn’t follow it on as it felt more natural capturing spaces and places. It’s only when I got the ‘In The Woods’ commission in 2009 that I realised an avenue of creative work. I think if you work hard and put the hours in, when an opportunity knocks on your door you’re ready for it. You never know what’s round the corner so best to just get on with it.
It seems you’ve made a special connection with The Invisible, who are probably my favorite band of the last three years. How did you meet those gentlemen, and whose idea was it to shoot a video for ‘Spiral’?
The Invisible are amazing. Their musicianship is extremely captivating live. There’s an epic quality in their sound, which I find really inspiring to work with, especially as I thrive on relaying a similar atmosphere in my own visuals. I love the joy found in the eerie and I think you get that in some of their tracks. I met Dave in London and we were chatting about the In The Woods film I was making. They had headlined at the festival, but were the only band I hadn’t spoken from being a bit intimidated by their Mercury nomination. Based on what I’d said about the film, Dave asked me if I wanted to start filming them and it all naturally developed from there. Spiral was actually meant to be Monster’s Waltz, but two extras dropped out last minute so I had to make it work for a less dynamic song. We had a seriously high-end camera, so I choose Spiral as the beat was regular and allowed the shots to exist quite simply. It was for an art project, so there was free reign to change at short notice.
How did the opportunity to travel to Texas and document the band’s journey to South By South West come about? At what point was it decided you’d make a short film?
They asked me if I wanted to come. I said yes. I went with the mini-doc intention. I wanted to create a piece that framed what I thought was most poignant about them and their music
Who are some other bands you’ve especially enjoyed collaborating with?
All the bands that I’ve worked with over the last year have been amazing. I feel very lucky to have crossed paths with some very talented musicians who were into my visual-making.
You’ve had the honor of documenting the In The Woods festival two years and running now. How much fun has that been?
In The Woods is absolutely magic. The Laurel Collective who put it on are really genuine people. They’re very passionate about music and collaborating – that comes through the festival quite strongly. It’s not based on hedonism and I think a lot of people really admire that. It’s like a family, but totally open and non-exclusive. It will always be very dear to my heart.
In light of her untimely passing, a lot more attention has been paid to Ari Up recently. Can you describe having to conduct what was pretty much your first interview with such a legendarily eccentric, vibrant personality?
I pretty much just turned the camera on. Ari was very focused, she knew what to say and what to do – I guess I was poised and similarly adventurous for her spontaneity on the street. The way she worded her opinions exposed a certain reality of things and that was very exciting to film. I feel honoured to have captured a sense of that in my short vid, but I’m also saddened that the bond we made through the camera can’t be explored further.
How have you since adapted to interviewing on camera?
I still play it all by ear – I’m trying to capture a reality so don’t want to interfere too much. I’ve recently started to prep the questions beforehand, developing my work towards comprehensive filmmaking – learning as I go along. As for other profiles/portraits – I’m drawn towards capturing people that have something interesting to say and are inventive with how they’re saying it. But from experience so far I seem to make vids on things that occur in my life naturally. I relate it all to a portrait artist more than a journalistic documentary filmmaker.
Concerning your immediate future, what are you working on at the moment? Any big plans for the upcoming year?
Yep. Currently working on a New York piece that I shot over xmas just gone and there’s a few unfinished vid portraits in the can. A larger straightforward documentary project is in development and I’ve started thinking about a drama script. I also plan to go tapeless and HD, strengthening my work towards film festival entry. Feel excited about this year – just as long as I do the work it’ll be fine.
Only because I’m curious, what would your dream commission be?
Batman.
Lastly, what is your philosophy on art/work/life/etc.?
So we’re all doomed because capitalism wants to laminate everything. But I reckon if you find your passion and work on it, dedicate time and space to properly engage in what you’re doing and where you can take it, I think you can create something interesting that has integrity behind it. That doesn’t just apply to artistic vocations either. I get the feeling that a lot of people are craving honesty and truth.
It’s also definitely a lot easier to let stuff happen to you then to go out there and make it happen for you. I’m very committed and in it for the long haul, but also totally enjoying what’s happening now.
Photograph by David Shenoda