PINK FLOYD '66 '67 '68
2010-10-20
From the beginning, the composition for the theater staging their shows, Pink Floyd special relationship with the image. Heure Exquise! has selected four films showing the imprint of Pink Floyd in the fusion of music and image.
- Syd Barrett’s First Trip
de Nigel Lesmoir-Gordon
UK, 1966-67, 12’, coul, 16mm
This is a portrait of Syd’s first trip on magic mushrooms set in the Gog Magog Hills of Cambridge. It is the first recorded film of Syd Barrett. In the same year Anthony’s friend, Nigel, also filmed Pink Floyd sealing their first recording contract with EMI.
- Iggy - Eskimo Girl
de Anthony Stern
UK, 1966, 5’, coul, 16mm
Iggy was a model and the girlfriend of Syd Barrett, and appeared on the cover of his album The Madcap Laughs (1970). Anthony recalls, “She was terrific fun to be with and to photograph. I made this short film of her dancing in Russell Square, which portrays her as the ultimate flower child of the 1960s.”
4m/colour
Produced in collaboration with Chimera Arts.
- Pink Floyd London ’66 -’67
de Peter Whitehead
UK, 1967, 30’, Béta
Avec Syd Barrett, Roger Waters, Richard Wright, Nick Mason
Shot by movie maestro Peter Whitehead, this film features rare full length performances from the classic late 60's Pink Floyd line-up at Sound Techniques London & material from the legendary '14 hour Technicolor Dream' extravaganza in April '67 at Alexandra Palace. The footage includes performance art by Yoko Ono and a Sgt. Pepper era John Lennon taking in the festivities (John and Yoko had not met then). cuto_sapien@yahoo.co.in from IMDB
- San Francisco
de Anthony Stern
UK, 1968, 15’, coul, 16mm
Musique originale : Pink Floyd
San Francisco was a response to hearing “Interstellar Overdrive” by Pink Floyd. Anthony wanted to make permanent the Pink Floyd lightshows created live at the UFO and other club venues. The LSD-triggered psychedelic experience found its ultimate expression in the fusion of sight and sound, which achieves a visceral effect on the experiencer. San Francisco captures this ephemeral phenomenon and makes it permanent whilst presenting a rich archive of 1960’s America. New rhythms were created in the language of film, using single-frame exposures and freeze-frame techniques.
