This is an early example of the use of ‘soundscaping’ through cut-ups and bricolage to create ‘implied narratives’, a theme which recurs in Gallivant. The film evokes the disembodied voices of the hoi polloi manifest as an ‘animistic presence’ within the landscape. Part home-movie and part diary, the work shows various friends and family that passed through my life in the French Pyrennes. It stars Eden and also features the voice of my grandmother Gladys. Hoi-Polloi sees the beginning of a fertile collaboration with the musician David Burnand.
Andrew Kötting was born on 16 December 1958, one of five children of a middle-class family, in Farnborough, Kent. His father, like his German-born grandfather, sold belts and buckles. As a child he “spent hours off ground in trees or tending rhubarb”. He studied art at the Slade School of Art, where he found an old 16mm camera and along with a friend, Ben Woolford, began using it to capture his outdoor performance pieces. One of his first attempts at filmmaking, according to a Premiere profile, “involved inserting iron filings in the shape of religious icons into his penis and then drawing them out again”. For his degree film, a short called Klipperty Klop (1986), Kötting ran round and round a Gloucestershire field pretending to ride a horse.
Over the next ten years, Kötting directed a number of experimental shorts, often produced via the London Film-Makers Co-op. The best received were Hoi Polloi (1990), and Smart Alek (1993) – the latter being “an attempt to rework some of… read more