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Caroline at Picadilly Circus (Dope the movie '68)
"Boots at midnight.."
(refers to the pharmacy Boots where British junkies could legally pick up their heroin if they had a prescription in London early '67)
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SD: The editing is rapid throughout and, accompanied by a multi-layered soundtrack, vies for the attention of our processing faculties. In some senses, we become overwhelmed by the amount of visual and audio stimulation that we are receiving which could be said to mirror the drug experience. Was this part of the intention of the film?
FS: Yes. Maybe "mirror" is not quite the word...I don't know..."replicate" perhaps. Dope's intention is to be dope - to overwhelm so that one uses another part of the mind/senses to process it all. However, it's not just the fast stuff but the slow stuff where it feels as if nothing at all is happening , in other words, an altered tempo in general was part of the drug experience intention of the film. And this presupposed the same frame of reference from the audience as well. There are scenes where not much at all appears to be happening, a blessed nothingness as it were....an "opening" into another realm..and this too is important. We wanted Dope to say everything, far more of course than the catch as catch can material could accommodate. We wanted it to speak for a whole subculture generation - to express a unified point of view that we all shared. And in essence this was sort of a mystical magical unitary point of view. And, of course, we never said this to each other or to ourselves in so many words because it was simply one of our bedrock assumptions. So, yes, of course Dope is in a way very romanticized, but that's probably because it's not exactly a documentary; it's more or less an extended music video and also an anthem for a consciousness. "
-excerpt from interview with Flame Schon by
Ian O'Sullivan, Shindig!Magazine, Jan'09
[Link removed - login to see]
(refers to the pharmacy Boots where British junkies could legally pick up their heroin if they had a prescription in London early '67)
---
SD: The editing is rapid throughout and, accompanied by a multi-layered soundtrack, vies for the attention of our processing faculties. In some senses, we become overwhelmed by the amount of visual and audio stimulation that we are receiving which could be said to mirror the drug experience. Was this part of the intention of the film?
FS: Yes. Maybe "mirror" is not quite the word...I don't know..."replicate" perhaps. Dope's intention is to be dope - to overwhelm so that one uses another part of the mind/senses to process it all. However, it's not just the fast stuff but the slow stuff where it feels as if nothing at all is happening , in other words, an altered tempo in general was part of the drug experience intention of the film. And this presupposed the same frame of reference from the audience as well. There are scenes where not much at all appears to be happening, a blessed nothingness as it were....an "opening" into another realm..and this too is important. We wanted Dope to say everything, far more of course than the catch as catch can material could accommodate. We wanted it to speak for a whole subculture generation - to express a unified point of view that we all shared. And in essence this was sort of a mystical magical unitary point of view. And, of course, we never said this to each other or to ourselves in so many words because it was simply one of our bedrock assumptions. So, yes, of course Dope is in a way very romanticized, but that's probably because it's not exactly a documentary; it's more or less an extended music video and also an anthem for a consciousness. "
-excerpt from interview with Flame Schon by
Ian O'Sullivan, Shindig!Magazine, Jan'09
[Link removed - login to see]
