On first reading
'Monkey' seemed to be the perfect material to work with. I could
make all the animal characters human, update it to a modern setting,
shoot in interiors in th e developing Chinese communities in Ireland,
and give it an electronic soundtrack from the D1 Recording artists.
To make it easier to produce I could break
it down into sequences of a few minutes each and cut them to a particular
electronic track. Thus that sequence would serve the dual purpose
of being a crucial sequence within the overall narrative of the
film but could also be viewed as the video for that individual track.
So, a longer narrative film would comprise
a number of shorter music videos. Each sequence could be finished
with a separate budget from each of the individual recording artists,
which would be negligible in comparison to trying to raise a single
budget for the entire project, and would avoid the pressure of a
completion date, enabling me to complete each section with an individual
schedule, thus giving me a similar artistic freedom to the one I
had enjoyed with the Chaplin short.
This approach resulted in a reconnaisance
trip to Hong Kong in 1999, to shoot videos for Irish labels 'Bassbin'
and 'D1 Recordings'.
This trip radically changed the developing