Vivid's curation of music, art and visuals is hitting its second weekend, as Sydney Opera House hosts 'Eno' (1 June), a screening of Gary Hustwit's documentary with a twist – Hustwit is editing and arranging the documentary as you watch it.
The film starts with coloured lights before blacking to computer error signs and a tweaking electronic melody, a repeating motif that suggestively signals a transition in Hustwit's editing throughout the screening.A montage of Brian Eno moments plays frenetically – interviews, performances, laughs – before it cuts to the peace of his garden, Eno inside listening to music and scatting away.
"I always loved 'Get A Job' by The Silhouettes," Eno shares with his ever present smile. The film winds through the origins of Eno's artistic journey, how he initially wanted to be a painter and went to art school, but "it wasn't happening in art school. Everything was happening in music."
Eno expresses his joy at discovering rock musicians didn't have to be that talented, and his positive ecstasy when realising the studio meant he didn't need to be a terribly skilled musician to make music. "I set about making music that was impossible to make live," he shares his point of differentiation, smiling.
A wondrous colour purple appears on the screen, as Eno recalls: "When I was young, I could take some blue and some red from my paints and make this colour purple. I loved it so much I just wanted to paint it on paper for hours and hours." You lose yourself momentarily in the purple visuals, entering the fascinated mind of the young Eno.
Eno takes out a deck of infamous cards, Oblique Strategies – ideas co-written by Eno and Peter Schmidt, printed individually on cards with the intention of provoking lateral thinking in the creative process. Cards offer strategies such as 'change instrument roles' and 'consider transitions'. It is easy to see why creatives utilise the deck, and it is an informative glimpse into the mind of Eno.
The film moves into the relationship between Eno and Bowie, Eno suggesting all great artists employ an onstage persona. Eno produced four of Bowie's records, and he recounts the time they both drew an Oblique Strategies card without telling the other what theirs was. "Mine was 'change nothing and continue with immaculate consistency' and his was 'destroy the most important thing'," Eno laughs at his self-induced impasse.
The film references Eno's awards briefly. You sense that Eno spent no lingering time exploring them in their conversations. It moves to Eno working with U2, an insightful shot of the relationship between artist and producer, and some unlikely inspirations for the band's songs are revealed.
It moves to Eno enjoying some intricate and elaborate African rhythms from inside his house, before navigating Eno's discovery of zither master Laraaji in a park – a chance meeting which led to an entire album being recorded in one afternoon. You see the ever present curiosity which motivates Eno's mind with un-satiated desire.
A questionable acquisition of his first video camera in 1980 leads Eno to constantly shooting out his window. A problem arises – the camera cannot sit upright but only on its side which means the visual fed to the television is also sideways. Simple fix, Eno reorients his television onto its side. Exploration of televisual capabilities continues as Eno creates paper ziggurats to sit atop the screen, colours shooting up and reflecting through them. It is a stunning sight.
Eno comments on climate change and his passion for nature, as speakers hooked up on trees whisper music through the woods. Eno shares the horrifying fact that our brains are getting smaller, something he attributes to increased specialisation as a species. The film explores his academic pursuits, as you vow to use your brain more.
The advocation of creativity rounds out the end of the film, as Eno expresses his definition of art as the exploration and understanding of feelings. It is a deep and poignant statement that lingers with you, it is enough to spend a life exploring feelings.
The film plays another montage, this time of Eno's quotes, which are drunk up like sweet honey. You begin to conceptualise the genius of Eno – he is a man who relentlessly seeks to remove mental limitations and, as such, has created a neural playground of limitless expectation. He balances both of life's great questions - why, and why not?
The film is, as anticipated, somewhat disorienting in parts, however it remains cohesive. You leave inspired to take risks, create and be curious. After all, why not?
