Director’s note

The idea to make a film about London came to me seven years ago. I mentioned it to Bob (Robert Harbison), who was enthusiastic about it from the beginning. It was something we would do when we could find the time. Four years later, neither of us had more free time than before, but we decided to start anyway, filming mainly in the summer. Stages had to overlap with each other: we visited the locations while Bob was writing the script, at times only a few days prior to filming; we took pictures and talked to people—locals who told us stories about the places, vicars of churches, people in institutions, etc.; in-between shoots we tried to make sense of what we had, in the editing room. At the same time I would visit Simone’s studio and listen to the music he was writing: guitars played with a bow, or viola d’amore, dulcimer, melodica, etc.

I will remember all these colaborations very fondly. But I have one more reason to mention them here: each one added a new layer to my perception. There was, for example, the actual St George-in-the-East that I visited. Then there was St George in Bob’s words, then seen through film fragments; finally, edited and accompanied on screen by Simone’s strange melodica. The way buildings and places constantly transformed in my mind became an analogue of our consciousness of the city. So, this is what I hope for Another London: that it will be part of the London we know, a small addition to the endless knowledge and imagination devoted to the city, which, along with its physical presence and its inhabitants, its artifacts and its myths, make London what it is.

Ektoras Arkomanis
London, Winter 2014

  

Review by Colin Davies, in Slips of the tongue poetry blog, October 2014
  

Poetry and architecture: ‘Another London'

I watched a new film the other day called ‘Another London’. It was a sneak preview so I can’t provide a link but when it comes out you should try to see it. It is a film of rare quality. Read more... 

 

Review by Peter Carl, August 2014
  

Intentionally avoiding the parts of London well-known to tourists, Harbison's journey from east to west captures a London full of transience and memories of pasts Classical, Gothic, industrial and ecological.  It is a story told through the architecture and landscapes, and Arkomanis' direction allows the settings to speak for themselves, matching with its careful pacing and framing the laconic wit of Harbison's narrative.  Salvatici's music beautifully underscores a vision of London that accommodates diverse imaginations but also—unlike most recent development—solicits concern for, and commitment to, the city.