FAQ

Why did you make Jung & Restless?

My goal was to make a film that generates a feeling of mystery and wonder using symbols and images from my dreams. I started animation experiments when I was working with a senior Jungian analyst and stopped dreaming. The analyst called this “deus absconditus” or the hidden god. I began animating straight ahead with no planning, no storyboards, no questioning the imagery and no thinking (impossible!). I ignored thoughts like  “what is this about?”, “where is this going?” or “what should I do next?” In place of missing dreams, I shared these experiments with the analyst. I was gobsmacked by her interpretations. Inspired by what I learned from this, I turned the Jungian experiments into a film, adding compositions inspired by the art of Carl Jung and sequences from my dream notes.

 

Frame from Jung & Restless (2021)
Frame from Jung & Restless.

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 very similar to “young” so it creates a nice pun. The title sequence was animated by Brian Kinkley, a wonderful effects designer and compositor.

How did you work with the composer and sound designer?
Jung & Restless composer Seth Norman.
Jung & Restless composer Seth Norman.

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.

Chris Barber working on Jung & Restless

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?  

Bring a little mystery and beauty into your life! Jung & Restless is a relaxing, immersive film with odd, provocative images. It might inspire you to explore your own dreams and personal symbols. 

Was it made for a specific age group?  

Jung & Restless is colorful, engaging and has no dialog, so all ages of people like it. It is about symbols so each viewer has a personal interpretation of the meaning of the film. 

What type of feedback have you received so far? 

Frame from Jung & Restless.
Frame from Jung & Restless.

 

Marcel Jean, the Artistic Director of the Annecy International Animation Festival said that “Jung & Restless is beautiful and spectacular. The synchrony between the animation and the music and soundtrack is fabulous.”

What are you working on now? 

I am working on a short, experimental film about Burning Man, edited by Zak Margolis with music 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.


 

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