With a cast of thousands – George Haydock’s film in homage to wasteland at Pomona Island
July 7, 2014 2 Comments
I’ve never been backed by a string quartet before – and George Haydock’s meditative short film below is probably the only time in my life that it’s going to happen.
It’s always disconcerting watching yourself. And there’s a moment in this where I suddenly realised where my sentence was going to take me and couldn’t resist a smile (it’s the point about Salford docks exporting itself until only emptiness was left). Hopefully it doesn’t look smug (it’s borderline I think). I developed a new-found respect for TV presenters that day – that art of keeping on talking, and thinking – with just the right buffer between the two.
So, there I was – an overgrown pixie – sitting on a rock for an hour and half trying to constantly think of something more to say about this overgrown and unregenerated wasteland portion of Salford docks. I’d also been speaking earlier that day at a National Water Safety Forum symposium at The Lowry (in the now rather scuffed looking – regenerated – portion of the docks) on drownings in inland waterways, so my head was already in a strange place (and my body in a suit). Earlier that day I’d travelled up and down the quays in a boat, my RoSPA colleague pointing out all of the locations at which adventurous water users had come unstuck, some fatally.
Every few minutes we had to stop filming, as a tram trundled past. Occasionally it was a jogger or dog walker who provoked the pause. Having to sit on a rock and talk about a place that you’ve never visited before is actually quite difficult. There’s almost something fakir-like about it; a trial of endurance.
An endurance taking me towards revelation?
So, I eventually realised that the big point (my attempt at a ‘big’ point at least) about Pomona was that there is no big point. It is a pause place, a gap in the intense meaning otherwise foisted on the landscape in the city making, regeneration, repurposing. Pomona just ‘is’.
And with that revelation a nirvana-lite passed over me. Phew, I’d finally worked out something that they might be able to use in the film…
There’s an interview with George about his take on Pomona at http://www.theskyliner.org/pomona-island-on-film/ which includes the following account of his intentions and inspiration for his film:
“My main intention was to capture the essence of this unusual space, to glorify it, live with it and let it dwell for while. I wanted to celebrate the areas state of limbo – and see it with open eyes. A lot of people who look at the space see and feel nothing, they might see this film and think it’s trivial, but in a way that tension is what interested me. The film is ultimately an attempt to challenge and cause friction against most people’s perspective. For me, film should speak at an intuitive level – and this is what I aimed to do with Pomona Island.”
Ironically the photograph at the start of this post comes from a locations agency website (http://www.filmandtvlocations.co.uk/locations/pomona) – it seems Pomona’s wasteland status is productive in and of itself, with that site praising the venue as offering “a unique opportunity to film on an open quayside location in front of the back drop of Manchester City Centres impressive skyline.”
So, Pomona shows us that flux that is the succession of urban uses that any ground can testify to. But Pomona shows that procession in a freeze-frame. The recirculation is slower. The docks have lain empty for 40 years, and when they arrived in the early Twentieth century they displaced a range of earlier leisure uses formerly of this boundary between Salford and Manchester, including Pomona gardens and zoo.
Very fitting then, that ending to the film, that ‘cast of thousands’ – but I won’t spoil the surprise.