I haven’t yet. I was thinking of doing that with the next ones. My films are quite dense so people will watch half of one, if they come in half-way through, and then will watch it all the way through again. With some films and you come in half-way through you will just watch to the next point where you recognise it again. But perhaps my work isn’t so evidently understandable on its initial screening. If people do watch it from the beginning they might watch it twice – although it is linear it does benefit from seeing it twice. It’s difficult to know myself, but that’s because it’s difficult to know something you make or what it could mean to somebody else. But just by watching people when they come in, they don’t tend to just get up as soon as they see – ‘oh that’s that person with the orange coat that’s just walked in, I’m going to go, I’ve seen it’, they’ll stay because the work’s so condensed. Maybe they think there’s something else to it!

I think in a programme sometimes it doesn’t come off well. It works a bit, but somehow I think they do need more than one screening. It works to some extent but it tends to throw people I think, if you just watch it once.

The posters are quite symbolic, they use symbolism and generally are not stills of films, some more than others. For instance the one of my film Superpower - Dakar Chapter, is originally from the back of an exercise book, so it’s a child’s exercise book in Africa but I abstracted it so that the African continent’s outline is erased making just a constellation of towns with these names that you wouldn’t initially recognise. Stars in constellations have Arabic names so some of the names of African cities like Dar-Salaam or Alexandria might be the names of stars. The film is about astronomers in Africa and there’s a figure of a very tall man stepping off the African subcontinent into a mathematics chart and so it’s a poster about knowledge. The poster operates on its own as well, if you care to be bothered about it, otherwise it’s just a poster.

They’re more straightforward, but because what I’m doing with Wayward Canon isn’t exactly evident – they just help people along a bit. I think if you go and see an opera, it might not be evident what’s going on because you can’t understand the words and so you get opera notes.

The La Société des Amis de Judex booklet is just writing by myself and a poem by Apollinaire. But the one for Sunset Beach was actually perhaps more to do with the booklet than the film. I invited ten different artists to make responses to ‘Sunset Beach’ and that’s actually the way I want to continue with new work I’m doing with the Wayward Canon – to invite people to look at some of the work, people from many different disciplines, and get their response. With the Sunset Beach there were all sorts of different artists and there was even a surfer talking about surfing. That was to do with using the film as a springboard for other ideas to come out so then it’s another way of cinema operating as a kind of social situation. These ten people met each other as well so it was a society and that’s something that’s shared with Judex and the Sunset Beach one because we called it the Sun Set like the Bloomsbury Set or something, to indicate a collection of artists.

Yeah. It happens in art a lot, that people use cinema as a reference. But I was getting fed up with people referencing boring films.