What A Place
How different realms can be accessed through music
Directed by Akira Uchida
Words by Katie Celia Huelin
New York-based director and choreographer Akira Uchida brings musically-driven sensations to life in What A Place. Born from a collaboration with US artist altrice, this short film delves into the multiple realms of self-expression accessed through music - engaging with each track from altrice's EP to weave a non-linear narrative of emerging feelings. Filmed across New York, a unique series of distinct scenes capture the city with a sense of distance, reflecting varying emotions experienced in movement, revealing how the urban environment mirrors his character’s internal journey.
From start to end you showcase the different ways music and movement unlock different realms and states of expression in us all. Can you dive into this vision and explain how the diverse shooting environments reflected the characters' transitions between these altered states?
Around the time of making this film, I had been thinking a lot about self-expression and what it can look like to allow different states of feeling to come through at full force. I was also considering how expression can be blocked, causing a tension that arises when there's a loss of this free flow. I believe this range in self-expression enables us to experience multiple, sometimes opposing, facets of our personalities, if we choose to embrace them. I like the idea that these different versions of a person can coexist without contradiction, forming a cohesive whole. Whether or not we realize it, the version of us alone in our bedrooms is different from the version of we present during a work presentation, or when out with close friends. This gives our personalities space to be malleable. The film was not so much about exploring a character existing in parallel universes, but more so the range that already exists within our emotional life.
The environment for each scene was really crucial in metaphorically reflecting the central character’s experience. The dark space in the first scene tapped into the hidden internal spaces we don't always show others. The night scene channeled a sense of escapism and mystery while maintaining a certain degree of privacy and isolation. The parking lot offered something gritty and raw, yet also expansive and free. The studio scene suggested a more focused form of creativity and expression, which mirrored the more direct and assertive movements in the choreography.
Can you share with us how the collaboration with US artist altrice came about? In what ways did the distinctive and emotive music influence your directorial choices for the visual narrative and choreography of the film?
I connected with altrice about a year ago, as I had used his music a couple of times for choreography, and it really resonated with me. We had been chatting for a while about collaborating, and he shared some of his unreleased music (now on his current EP - also titled What A Place) which inspired me to create something. We discussed potentially shooting a music video, but then the idea of making a short film featuring multiple tracks came up. This format allowed us to create a world for the EP to exist in a more comprehensive way. I was drawn to this idea as it provided more space to convey the range in both of our works creatively.
In the early stages of my process, I listened to the entire EP many times to get a sense of which tracks inspired me most visually and from a movement perspective. I then experimented with different orders of the songs to see how they could inform each other and create context when placed in a specific sequence. I wanted to be very specific about the type of expression each song conveyed and, within the context of the scenes, what the progression of the character would be as they moved through these varied states. Although the scenes aren’t necessarily in chronological order, I was drawn to the idea of moving from a more closed and personal state of expression to something more outward and bold. I then explored how these various states could exist in movement while simultaneously considering how the environment could reflect the character’s internal experience, and started building the scenes from there.
The film features lighting that ranges from intimate and personal to bold and bright, all with a very authentic and raw touch. Can you elaborate on some of your cinematographic decisions for the film and how you managed to enhance the film's emotional tone and strengthen the characters' connection to the music so well?
Getting clear about the sensations and emotions each song brought up for me informed many of my cinematographic decisions. Once I had that clarity, my choices regarding the elements within each scene such as lighting, location, movement, styling and even the shot list all felt very intuitive. I didn’t want a linear or story-based narrative for the film, but I felt that lighting could create an arc and a visual journey, moving from darker, more personal scenes to something brighter and bolder, which created a sense of progression throughout the film. Colours in the film were also crucial. I aimed for a moody, gritty feeling, which is why there are many cold and neutral tones. However, I also felt it was important to include bold and strong pops of colour to connect to the more open and passionate states of being in the film.
We can't help but notice the standout styles in the film that enhance the overall expression of the characters. Can you elaborate on the importance of the fashion choices for each character and scene?
I personally love fashion and see it as a powerful tool in film to create characters and set the mood. Fashion felt particularly relevant for this film as we delve into the topic of self-expression. Clothing and personal style are strong signifiers of a person's mood, experience, cultural background, and identity. Fashion can be used to hide or to draw attention, and the same outfit can communicate something very different when worn by different people. Similar to the choices around lighting, editing, and colouring we've discussed, I wanted each scene to convey something different about the character's current state through their clothing, while maintaining a coherent vision for the styling throughout the film.
“I focused more on developing movements and qualities that aligned with each scene, rather than creating a series of choreographed movements.”
As both a choreographer and director, how did you balance your vision for the dance sequences with the overall narrative of the film? Can you describe the process of developing the choreography for each track?
Though it is a dance film in many ways, I wanted to ensure the film wasn't solely about the choreography. Instead, I envisioned dance to be one of many elements within each scene that communicated and reflected the character’s experience. For this reason, I focused more on developing movements and qualities that aligned with each scene, rather than creating a series of choreographed movements. Most of the movement in the film is actually improvised, while working within the specific emotional and physical quality I was exploring, as I wanted it to feel authentic and in the moment. The only scene with a set sequence of choreographed movements is the final one in the studio. This scene was about channeling a more focused and direct form of expression, so it made sense to have movements that were created and set to the music.
What A Place is structured distinctly into chapter-like segments, each corresponding to a different track of the EP. How did you approach the editing process to ensure that each segment of the film had its own unique vibe while still maintaining a cohesive overall narrative?
There were certain editing choices I made to create a unique tone for each scene, such as presenting the first scene in black and white and incorporating vintage digital camera footage into the group scene. However, these choices were driven more by the emotional tone each scene required. I spent a lot of time thinking about how to create a specific mood and world for each scene based on the tracks and how they made me feel. The editing choices were an extension of that process. To maintain cohesion across the scenes, the coloring, locations, and styling played significant roles, as did having a central character who anchored the film's narrative.
What's next for you?
I’m in the early stages of preparing another short film project, probably my most ambitious yet in terms of size and creative vision! Outside of my film endeavours, I’m currently prepping for a few upcoming performances and new live performance works I will be presenting in NYC this summer.
Featuring: Akira Uchida
Dancers: Dasol Kim, Jacob Thoman, Liana Kleinman, Maxi Canion
Executive Producer: Ben Totty (Box Artist Management Ltd)
Producer: Tori Soper
DOP: Bailey T. Miclette
Production Company: Boulder Media House
1st Assistant Camera: Adler Shannon
Editor: Jack Foster
Post: Society Post House
Colouring: Nicholas Lareau
Featuring clothing by: Lu’u Dan, Priscavera, Useless Objects
Artist Label : Godmo