Why did you make Jung & Restless?
My goal was to make a film that generates the dreamy feeling of mystery and wonder using symbols and images from my own dreams. When I was working with a senior Jungian analyst and stopped dreaming, which the analyst called “deus absconditus” or the hidden god. I started making animation experiments, without planning or storyboards or even thinking about the imagery. I ignored this internal dialog: “What is this about?”, “Where is this going?”, “What should I do next?” In place of the missing dreams, I shared these experiments with the analyst. I was gobsmacked by her interpretations. Inspired by what I learned from this, I eventually turned the Jungian experiments into a film, adding compositions inspired by the art of Carl Jung and sequences from my dream notes.
What does the title mean? The title references a popular soap opera, The Young and the Restless, that has been on US television since 1980 and has run for over 11,000 episodes. In English, “Jung” sounds similar to “young” so it creates a pun. The title sequence was animated by Brian Kinkley, a wonderful effects designer and compositor that I have collaborated with since 2009.
How did you work with the composer and sound designer?
Composer Seth Norman and I have worked on seven films together. I absolutely love his work. He does the score after the animation is complete. We had only one phone call and an email exchange where we discussed Jung & Restless. Two months later I received the first (and final) music from Seth. At first I was shocked that it was an orchestral score. I thought it did not work at all.
As I continued to listen, I came to the amazing transition in the middle of the film, where the music goes in a completely different direction. A lightbulb went off and I thought: “This is genius!” I love how it relates to Jung’s duality principle. Seth said he had always wanted to compose an orchestral score and his first one is amazing.
Sound designer Chris Barber doing frequency carving on Jung & Restless in 2019.
Working with Chris Barber on the sound effects and mix was my favorite part of making Jung & Restless. Chris does not use a commercial sound library and makes nearly all of the sound effects himself. He is extraordinarily inventive and playful. About one effect, Chris says: “first I recorded rush-hour traffic with a heavy truck driving by. Then I picked out the descending frequencies from the clip. I love messing around with frequency carving and like to set patterns across the clips to create weird and strange sounds.”
Why should I watch this film?
Jung & Restless is a relaxing, immersive film that might inspire you to explore your own dreams and personal symbols. Bring a little mystery and beauty into your life!
Was it made for a specific age group?
Jung & Restless is about symbols so each viewer has a personal interpretation of the meaning of the film. It has no dialog or text and is colorful and engaging so people of all ages like it.
What type of feedback have you received so far?
What are you working on now?
I am working on Fleeting Marvels, a short, experimental film about Burning Man, edited by Zak Margolis with music composed by Seth Norman. I walk and hike in the woods as much as possible and my hobby is making medicine from plants.
“Imaginative, playful and whimsical, Priestley’s work radiates a sense of wonder and delight about the art of animation. -Maral Mohammadian, Cartoons: the International Journal of Animation