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Is that enough black all round?
Tracey moberly: Yeah, put it round the back as well.
That's what I'm saying, I want to get out of doing it around the back.
Oh, I didn't hear you say that.
Right, put it up on top of your head a little bit.
But surely all my thick, dark hair is going to be enough at the top?
No, at the front. At the front. Up a bit.
And a bit more on your ears.
- Where? That one? - Yeah.
Yeah.
Stand in front of the "a".
- Okay? - On the left, yeah.
That way slightly. Yup. Slightly the other way.
Slightly the other way.
"Other way" doesn't count. I can't see anything.
That way. Now that way.
That way.
Now that way.
Yeah.
Yeah. Thank you.
- Okay if I get my new jeans on now? - Yeah.
Cool.
I can just see all this broken glass down here.
What's that about? It is, it's fucking broken glass.
For fuck's...
One, two, three...
Fucking hell!
- Don't let it go in your mouth. - Pardon?
Don't let it go in your mouth.
Do you want something more epic than that?
Cameraman: Yeah. Yes?
- Did the cameraman say "yes"? - You didn't fully submerge.
- Pardon? - You didn't fully submerge.
- We could see your back. - Oh, that's no good!
Tracey: Right, just do it after three.
Pardon? “After three.
One, two, three.
Get out!
Watch the glass.
There's all the glass!
Paul Duane: So, the other night when we were sitting in that hotel bar,
you did say something to me about your problem with documentary.
Bill drummond: I guess it's the whole process,
because it's often the case that the documentary filmmaker
has a completely different agenda.
And a filmmaker wants fo get behind the mask.
And, for me, that deconstructs, that demystifies, or de-something,
which is maybe good for... Maybe that's what people want to see,
but it also can take away.
Now, obviously, a documentary isn't there to be PR
for a politician, or the artist, or whatever, you know.
So there is always gonna be a completely different agenda
between the filmmaker
and the protagonist, or the whatever-it-ist is.
Paul: You gotta be aware it's a faustian pact,
as soon as you allow a film crew into your life, you know.
Bill: Aye, I'm totally aware. I know that. Of course.
And I totally understand the faustian pact.
But every day I'm gonna get up and think,
"oh shit, they're gonna be switching on this camera now.
"That's gonna get in the way of me just getting on with things."
And... and... and that's... That... and...
And a fear, a fear of the camera.
A fear of what I'm saying.
So when you sit down it kind of just goes off.
I'm just wondering where am I losing you?
Tandra chanda: Can it go here? I think so.
- Okay? - Thanks.
Okay.
So...
There's three, maybe four, practical things I want to ask you.
Yes.
Soundman: Sorry, I've lost you again.
Again?
- Sorry, bill. - Okay.
Bill: Okay, are we all right to go?
Okay, back to my questions.
This is not about your work, this is advice I want to get
on things I'm gonna want to do over the next two days.
Do you know anywhere around here that I can buy wood?
A timber yard?
Or should I be asking your husband that?
- Yes. That's better. - Okay.
Okay, the next thing is, I guess I should be asking him,
because I want to go and get a shave at a street barber.
That's another thing for me.
It's like a symbolic thing of starting afresh at a new place, at a new job.
- Yes. - New.
That, he can help you. I have no nothing, sorry.
I know that. Of course.
And, the other thing.
I do this thing called "the man who bangs his drum".
So, I like to enter a city banging a drum.
That is a problem here.
Bill: I'll be banging a drum coming across...
- Howrah bridge? - Howrah bridge.
- Can you walk across howrah bridge? - It is so far from here.
Yeah, but can you do it? Is it possible to walk across?
That I do not know.
You have to ask the police permission, everything. I think so.
There's not a path? People don't walk across every day to it?
Cross, but I can't tell you that you can every day or one day.
They will ask you what happened.
Why am I doing this? Why is this man, this European man walking...?
If you get the permission, you have no problem then.
- I don't like getting permission. - Permission?
- I said I don't like getting permission. - Okay.
Pulak chanda: I don't really think police
will give the permission on howrah bridge.
Because the common people are very curious
to why they're beating a drum like a madman, or like...
That's all right. That's all right.
If that's what happens, that's what happens.
If I get in trouble from the police,
I get in trouble from the police, you know?
Chanda: Even being an artist, I can understand what is your plan,
but I think the kolkata police, really, they're stupid.
They can't understand what you all want to do.
I don't, you know... I don't understand what I'm trying to do.
Anywhere, anywhere, anywhere from that wall down.
- See where that big thing is. - Where the slope comes down?
Bill: It is the first thing that I want.
It's almost the first thing I want to do.
I want to enter this... I mean, this can be faked-up for the film.
Paul: Nothing's faked for the film. Nothing!
This could be the last thing.
But, in my head, it is me entering the city.
Avuit Halder: The process, like, er... yeah.
It's entering...
Entering into kolkata, banging a drum.
So that's what you wanna do tomorrow?
Yeah.
Bang drum, shave, blow horn.
But remember, that banging the drum, though,
is a long process, usually.
Quite ceremonial.
Yeah, well, the bridge is only as long as the bridge.
- Are you filming in the car? - Cameraman: Yeah.
I wish I knew. I'd rather nothing in the car's filmed just now.
Cameraman: Why?
Because this is, er...
Personal time.
Camerman: You tell me what... I'll stop.
- Bill: Is the director in the back there? - No, he's not.
But I'm sure he would be happy. So, am I filming or not filming?
Bill: Pardon? Will I film or will I not film?
Bill: Okay. Yeah, I'll talk to him. Yeah, go on.
Avuit: I would like to know your thought process on this.
Like why you do it like this?
- Because it's very unconventional. - Bill: Yeah, but...
Avuit: I mean, I don't want you to explain it.
Bill: / probably don't want to talk about it.
Avuit: No, I understand. But I would just be curious to know.
Bill: Okay, okay, okay.
To go right back, when I was nineteen, I went to college to do painting.
And, at some point when I was at college, I realised
that the Mark of if I was successful would be
if rich people in New York bought the paintings, okay?
Avuit: That validates things?
That's what validates the paintings.
And I didn't want to do that. I wanted to make art...
And I'm quoting myself here, okay?
I wanted to make art that could be mass produced and cheap, okay?
Very interesting. But still, like,
- you're decommercialising it. - Yeah, but...
But you're still be making it for the mass.
Yeah, and hopefully it has a market as well, you know?
Bill: Now, I think they want me to explain to them
- in front of that camera. - Okay, yes.
I think that's what they want.
Okay, yes.
He likes to know what you...
What do you want?
Bill: This is a tune that I wrote and recorded in 1986,
and each city I go to, I invite a local musician
to do a version of that tune in their own style.
That's all. I don't want to teach you the chords,
- or the melody. - Okay.
I just want it from your ears, through your brain,
to what you do on the harmonium, and what he does on the tabla.
Bill: My name's bill. I'm an artist.
And...
I'm on a twelve-year tour of the world.
Bill: And, each year, I work in a different city, in a different country.
Bill: This year kolkata, India.
Next year, a small town in the usa called Lexington.
- What's the name? - Lexing-ton.
Bill: So, I'm going to be working with you two on Saturday.
- Yes, yes. - Yes?
We're going to be making cakes. Yes.
- From 10:30. - From 10:30.
- For eleven. - I think that's all I need to explain now.
There'll be more stuff that comes up on the Saturday.
- Yes. We are very excited. - It's just cake baking.
Tracey: Lovely, thank you.
Susmita: Are you an artist?
I'm a... yeah.
But do you paint? Like... baking cakes?
What actually you do?
This is what I do. I'm doing it now!
- You are baking cakes? - Yeah, I'm baking cakes!
- Every time? - No!
I do lots of different things. I bang a drum. I blow a horn.
- I paint paintings. - Ah, that's the question.
Bill: / didn't want to express emotion in the painting.
I wanted the painting to have a job.
Also, I had this other thing that nobody should make big art.
I didn't want to make impressive art. I wanted to make...
Small art? Smaller art.
And then put some words on it to do with what I was working on then.
So that the painting became an advertisement...
- Okay. - For what I was doing.
Bill: And there's 25 of them. And so, I have a painting
that just says "bake cake".
So, then the painting is doing a job. It's not there to be beautiful.
- It's for a purpose. - It's for a purpose.
- Bill: Fantastic. - Musician: Really?
- Bill: Beautiful, yes. - Musician: Thank you.
- Bill: Finished. - Musician: Finished.
Thank you very much.
This will be the kolkata cake circle.
Okay, we are here, right? “We're here.
- Okay. - Where's your house?
Okay, now...
There's going to be five cakes.
You've got to show me a route to get to there, roughly.
- And then to that one. - Right.
- And then to that one. - Okay.
And then I go to the edge of the circle, and I knock on the door, and say,
"I've baked you a cake, here it is."
And they don't know who I am.
They don't know what I've come for, why I'm there.
They just know there's a strange man knocking on their door,
offering them a cake.
And you can see straight away in their eyes,
they're thinking, "why should I take this cake?
"Has he poisoned it, or is he trying to sell me something?"
- Kidnap me. - Pardon? "Kidnap me", yep.
Any of these things, all right.
Paul: What is tandra saying?
No, I am telling if they will go,
and they will give the cake, and nobody is here,
they do not know then why you are giving.
"Why they are giving us? We can take our food.
"Why they are giving?"
That's why I tell, you have to explain what is the project.
- No, no. No. This is completely wrong. - Then?
Then what they will tell when they will ask?
That's for the people to decide.
- They will take or not. - Yeah, they decide, they decide.
We don't have to explain.
If you explain it, it just becomes a thing.
It just becomes an understandable thing.
If you can understand something, it...
It starts losing something.
Okay.
It is more important...
Okay, whatever he will tell me, I will translate it.
You understand, don't you?
- I know you understand. - Yes, I understand.
It's a loss of inner meaning.
Why, when, what, and who... yes.
Are the four handmaidens of evil.
Of Satan.
Bill: / got it wrong, actually. It's why, where, what, and when.
Why, where, what, and when are the four handmaidens.
- Yes. - Not the "who". I got that wrong.
Tracey: And do you want a photo with you and the girls
when you give the cake over?
Bill: Should there be a group shot, or not?
Tracey: Yeah.
How do you want to do the group shot?
With the person who answers the door, with the cake.
So they're holding the cake a little bit forward. Yeah?
Yeah. Not me in it, though?
Just them, and the person.
No, it'll be nice to have you in there as well.
But if you don't wanna be in there...
I might look too big.
- Big? - Mmm.
I can stand back further.
- Okay, we'll go from this side. - Yep.
Okay. Actually, we'll take the road, like, not from here, but from this side.
- Okay. - We'll go...
Anti-clock...
- Clockwise. - Clockwise.
- She's making the decisions. - Yeah, she said clockwise...
So0, you've got to lead the way.
Susmita: Okay, you've baked this cake, and...
- It is a form of art. - Bill: Maybe. I don't know. I can't...
So, does it help you in your living, or just...?
- Do you mean, does it earn me a living? - Yes, yes.
- Giving away cakes, for free? - For free.
Er... not directly.
We've baked you a cake, and we'd like to give it to you.
Bill: But we'd like to have a photograph of you.
Tracey: Smile!
- That's lovely, thank you. - Bill: Okay, thank you!
But I'm not selling the cake as a piece of art.
That's what I'm asking.
- Trace, do you want the cake sloped? - Yeah.
Ask them to slope the cake.
- Okay? - Okay.
Put your hand down, bill.
I mean, this piece of cake is a cake. It's not a great cake.
- But it's a cake. - It's the best cake we could make...
- Okay. - With, er... what we'd got.
Susmita: Now, we have...
We have arrived. Now you can choose any door if you want.
- Bill: Okay. - This is the whole line.
Bill: We have baked you a cake.
And it's for you, for free. For free.
That's for you, and his family.
And, er... and she wants to take a photograph of you.
- Where do you want us? - Right outside here.
Can you come...?
No, no, bring the cake with you.
Tracey: Just stood against there, yeah.
- That's lovely. Thank you. - Okay, thank you.
Thank you very much.
Man: It looks like caterpillar!
Bill: Now, the kolkata cake circle has been constructed.
- Susmita: Yes. - Bill: This is a sculpture.
We've made the sculpture.
- Susmita: Okay, mission accomplished! - Bill: Yes.
Susmita: So, tomorrow we are doing... face painting.
Bill: I've got to make soup tomorrow as well.
Tracey: That's great.
Pulak chanda: Do you have a list?
Bill: No, I don't need a list. I look at the vegetables.
Thank you.
Think of the soup more like
communion wine. It's not, er...
We're not gonna sit here and fill our bellies.
Tracey: Great, thank you.
- Cauliflower? - Two, two? Three? Maybe three.
Can I taste it here, yeah? Yes.
- Give me, give me. - No, I hold it. It's my job to hold it.
- No, it's unfair. - No, I have to hold it.
It's part of his thing, he wants to always carry it, chop it, cook it.
Tracey: This is like buying the colours for the painting.
- Pulak: You are not doing painting. - Bill: I'm just giving an example.
It's just an ingredient, but this is part of it.
And part of it, in my head, is me carrying the vegetables.
Pulak: You always carry your own things?
Bill: No. Depends what it is. But for this thing,
making this soup is me making the soup,
and me going to the local place,
buying the stuff, getting it,
chopping it up, cooking it, putting it together.
Excuse me. If you like to buy the cauliflower, more...
No, I think I have enough.
- Susmita: Bill? - Bill: Yes.
Susmita: I was reading about you in the Wikipedia.
Bill: In the Wikipedia, yes.
Susmita: I saw something: "K foundation and klf".
- Bill: Yeah... - Susmita: What it is all about?
Bill: It's a long time ago. I've forgotten now.
Susmita: No, are you part of it or something?
- It's two people. - Yes, you and...
- And Jimmy cauty. Okay? - Cauty, yes, yes.
And we're now...
We had a 23-year...
Do you know the word "moratorium"?
Moratorium is when you stop doing something.
Bill: But, in fact, we have been working. But secretly.
Susmita: Okay, and then I saw that k foundation, or something, they are...
Bill: We worked under different names:
Klf, justified ancients of mu mu, timelords, k foundation.
Susmita: And you all record music,
but you all decided not to until world peace is established.
Bill: No, that's what we said.
But, when we said that, all we thought we had to do was
not let any more cds or records go out.
We didn't know there was gonna be YouTube.
Okay.
Do you know? And things like that.
And, of course, everything can be on YouTube.
- Yes, everything. - Yeah, the whole world's on YouTube.
- This'll be on YouTube, probably. - Okay.
Susmita: I was curious, okay?
"He's such a famous person, his songs are on..."
You've got even brit awards.
Yeah but that's... It's all a long time ago.
Yeah, 1982 or something. 1998.
1992 - '92, okay.
Susmita: Even you are the most coolest person.
Bill: What?
- Susmita: Coolest person. - Bill: Foolish?
- Susmita: Coolest! C-o-o-l-e-s-t. - That's a long time ago, okay.
Susmita: Yes. Still lives.
Tracey: Can you face the side?
Bill: A place that sells wood?
- Man: Wood! - Bill: Not bamboo.
Bill: Wood! Like this wood here. Like this.
- Bill: Paul? Can you hear me? - Paul: Yes.
Bill: He's not filming, is he?
Cameraman: I'm filming other things, bill.
You just happen to be in them.
Bill: A steam roller. Haha, excellent!
Bill: He's got wood. Look!
This is it.
Bill: Oh yeah, yeah. That's timber, isn't it?
Bill: Do you have a ladle? I forgot to bring a ladle.
I have to serve it. Yes.
- Assistant: Five pieces. - Five.
Okay, okay, okay. Pass it up.
- It smells good. - There's too much potato in that one.
Okay. That's it.
Tracey: Have you seen that, down by there?
What, the goddess?
Tracey: That statue. Yeah, what is that?
I dunno what...
Has he got that filmed?
Avuit: I want to get back into the thing that you were saying
about being validated by the new yorkers.
You know, like the rich new yorkers. The élitists.
And you work very much with common people.
And third world countries.
And interesting places. Industrial towns, and...
Like, what is the significance of all of this?
I don't know!
Look, okay, the reason why I'm in kolkata
isn't because it's a third world country.
It's because I got invited here twenty years ago
fo come with two other British people who were maybe gonna make a film,
and they wanted me to write the film script,
and they wanted me to go to the temple of Kali.
And it's not that I have some big thing about the hindu pantheon of gods,
but it was going to kalighat,
and going to the temple then, that part of me
realised I'd messed up with women.
- Okay. - That I'd done things...
And, in my head, walking down kalighat,
twenty-odd years ago, and going to that temple,
there was something there.
So, I knew, if I'm doing this twelve-year tour,
each of the cities had to have a meaning in my life.
And that's why I came here. Not because it's third world.
Bill: Where's nabaroon's office?
Okay, so this is where I'm asking you, and they're filming, okay?
What I'm doing, I'm an artist, working in different cities around the world.
So, obviously, right now I'm working in kolkata, staying here.
And one of the things I've been doing in different places around the world
is making a bed, out of wood.
And usually I make it out in the street.
And I sell raffle tickets for, like, a rupee.
- Do you know what a raffle ticket...? - Yeah.
And then, after I've made the bed, I pick a winner, and take it to their...
So, where you are you going to make the bed?
This is why I'm talking to you.
Because, usually, I just go and find somewhere to make it.
But there's part of me, staying in the hotel,
would like to make the bed here.
And not raffle it, but actually have it in the room that I've been staying in.
And it stays there, and I write a story about the bed.
And, for me, the bed's not the art. It's the life of the bed, you know.
Could I make a bed here? Would that be okay if I...?
- Nabaroon: How long it will take? - Bill: /t takes two days.
Nabaroon: You can use this place to make your bed.
Bill: Okay.
And I've got to ask the film people now.
Is that an okay place over there?
- Yeah. - Fine.
Avuit: I feel like you revisit things from your past.
And you think that kolkata has some kind of long-lasting influence
in your head and, therefore, coming here is sort of like...
Bill: It did!
Coming here is about addressing my relationship with women.
That is what this is about.
And there is something about the city that's...
Avijit: I would like you to elaborate on that.
Like, how are you, um...?
Bill: Okay, look, I've got seven children,
and there are four mothers.
- Avuit: Okay. - Bill: That's complicated.
Tracey: That's the silhouette one.
Have a look.
- It's quite nice, innit? - Yep.
- Look. - Yeah, that's cool. That's good.
- Bill: Also crows. - Avijit: Okay.
Bill: Crows. The fact there's so many crows here.
- Avuit: Okay. - Bill: And I relate...
I identify with the crow, okay?
Avuit: The observer, and quick on their feet.
Bill: Whatever, I don't know why.
No, 'cause in Europe, crows fly in a straight line,
across the sky, and I think of myself as a crow.
Bill: Yeah. Pick it up. Go back.
It's heavy.
Okay, that'll do.
It's getting more bed-like now, isn't it?
Oh, it looks like a bed now.
Avijit: Remember you getting on top of a tree
did that have anything to do with being a crow?
Bill: Ah, could you give me a hand?
Bill: What that was to do was,
as a child, I would climb trees a lot.
And I'd spend a long time up trees,
looking down at the world,
and looking down at society, knowing they couldn't see me.
If you lift it up, and then...
Bill: / was looking. Looking, looking, looking.
Hidden in the trees, looking.
Okay, thank you.
Tracey: This is looking more like a bed now.
What do you have to do, just knock nails in?
Bill: Screw 'em in.
- Tracey: Screw nails in, then? - Bill: No, screw screws in.
Tracey: And is that it then, finished?
Bill: Yeah, but this bit's gonna take the best part of a working day.
- Tracey: What, screwing nails in? - Bill: No, screws.
Tracey: Really?
Can't you get a power screwdriver?
Bill: No, I'm supposed to screw 'em in.
Tracey: Why don't you just go and get a power screwdriver?
Bill: Why don't I just go and buy a bed?
- Tracey: Can you hear them? - Bill: What, those crows?
Tracey: I feel really sorry for this little one, bill.
Why can't it...? Do you think it's damaged its wing?
Bill: I don't know.
Tracey: Like if you picked it up, and threw it, would it go?
Bill: I don't think so. You could try.
Tracey: I'm not picking it up.
I'm not very good with birds.
Tracey: / like that, you're part of the tree.
I am part of the tree. I'm part tree.
Tracey: I don't know if that's long enough there.
Bill: It'll be fine.
Tracey: So you're measuring it out just to see
if it's the one that you need?
No, I need the other one. I can see that, now.
I thought they were really heavy.
- Tracey:: Do you want me to hold her? - No, it's heavy enough.
Bill: And then we have to get the three by ones,
the one by threes as well.
Okay, then, I'll get these one by fours. That'll do.
Timber merchant: So, what exactly do you do?
Bill: I'm an artist.
I'm doing this world tour over twelve years.
I'm working in a different city each year.
Last year I was in kolkata, in India.
This year, I'm in Lexington, north Carolina.
Timber merchant: That's cool.
One, two, three! Okay.
Bill: "Twelve beds, twelve cities, twelve years
"is a sculpture being constructed by bill drummond
"during the course of the 25 paintings world tour.
"In each of the twelve cities visited over the twelve years,
"bill drummond..." That's me, that's me,
"will make a bed with his own hand tools
"out of wood sourced locally.
"He will then sleep on the bed for one night,
"and leave the bed behind fo do the job it was created to do.
"The art is hot the bed.
"The art is the dreams dreamt in the bed.
"Twelve beds, twelve cities, twelve years
“is a child of the mothership sculpture forty beds."
That's it. That's this bed.
And tonight's the night.
I need to have a beer now.
What have I done? Oh, no, drummond!
- Tracey: What have you done? - You fucking...
Tracey: You've put it on the posts? Never mind.
- Just... just keep control. - Tracey: Rub it off with a rubber.
Bill: Once I've got all this measured out,
the rest of the day's just chiselling.
Tracey: Oh, look at that squirrel running across the line.
- Hey. - Hi.
- Hey, lovely job! - Okay.
- Man: What are you making? - I'm making a bed.
- A bed? - Yeah.
On.
Ah, they gonna put you outside, huh?
Pardon?
They gonna leave you outside sleeping?
Maybe, I don't know,
but I'm making a bed and it'll be...
It'll end up being for somebody round here.
Where y'all from?
She's from wales, I'm from Scotland, and we live in London.
You're a long way from home.
A long way from home! A long way from home.
That's my daughter, that's my little grandson,
that's my granddaughter, and that's my oldest grandson.
- Tracey: Aah. Hiya. - Man: And that's the latest one.
Bill: And you live here, but your daughter lives elsewhere, yeah?
- No, I live here too. - Man: She lives here with us.
- Bill: Ah, okay! - All of us.
Y'all don't leave nothing laying around when you leave, do ya?
Pardon?
Y'all don't leave nothing laying around when you leave?
No, no, no, no, no! Everything will be cleared up.
Woman in car: What y'all filming for?
Bill: I'm an artist, I'm from Scotland, and I'm building a bed.
The bed's not the art. It's the life of the bed that's the art.
The romances, or the births,
or the deaths, or the dreams,
- or kids playing underneath it. - Right.
- That's the art. - And will it be inside...
- Will someone put it in their house? - Yeah, what I'll do,
what I'm doing is I'm taking down names of people,
and then, when the bed's finished,
I put the names in a hat and draw out one...
Can I put my name in?
- Tracey? - Tracey: What?
Could you get her name?
Because I don't have one. All I have is a futon.
It is only a single bed.
That's all I... look, I'm not married. That's all I need.
And I haven't dated in twelve years,
- so I think I'll be okay in a single bed. - Oh, okay.
Look. Say "make soup".
Bill: "Make soup." I'm going to be making soup here one night,
and hopefully it'll be somebody's house, and make everybody soup.
Say "bake cake".
Bill: I'm going to be baking cakes next week.
Girl: "Man making bed." Yeah.
Tracey: "At the end of my two-year foundation course
"in northampton school of art,
"there was the obligatory end of year show.
"I decided to recreate my bedroom within the gallery space.
"Much banging of nails and sawing of wood needed to be done
"to re-create the life-size replica of my bedroom
"with its unmade bed, spit seed-encrusted sheet..."
"Spilt seed-encrusted sheet and all.
"It was the success of the show, for all the wrong reasons,
"but I took note."
So you did the bed before Tracey emin then, basically.
Bill?
I dunno. I don't know what she did when she was young.
Well no, she did it when saatchi bought it,
pretty much the... pretty much a similar thing. She left...
It was like her unmade bed, where she just left everything like around,
her used condoms, bottles of vodka...
I think more had gone on in her bed than had gone on in my bed.
Well you did say "spilt seed-encrusted sheets and all."
"I thought about sitting in mr mcquirter's joinery shop
"as a seven-year-old watching him chiselling.
"I thought about the picture in my Bible story picture book."
Did I see your Bible here?
There. You have to have a Bible with you.
Let's see. That's so random.
I thought I saw a Bible... the Bible. Is that your dad's Bible?
- Yeah. - Can I have a look?
If you're going to the Bible belt, you gotta have a Bible.
So who are... Who's all these names in there?
Let's see.
Is that you copying your dad's name, down there?
Or your dad when your dad got older?
Bill: "Private js drummond."
Aah.
Jack Scott drummond. Yeah.
Tracey: That's lovely, but you take that with you everywhere
that you're building the bed?
- Or did you bring it because of... - No, it was in my tool box.
What, just randomly in your tool box?
Well, it usually travels with me.
- Tracey: Okay. - Yeah.
So when I was getting these tools out of my tool box
from underneath my bed that I'd made...
- Tracey: Yeah. - The day before yesterday,
or whenever it was. I got that out as well.
Okay, I've done all the joints I was gonna do today now.
Man: You can set it right up against the porch right over there.
Bill: Thank you.
- Tracey: Okay, then. - Bill: Okay.
Tracey: Okay, thanks ever so much, and see you tomorrow.
- What was your name again? - Tracey: Patricia.
Patricia. All right, Patricia, see you. See you, Marvin.
Marvin: Have a good night, folks.
- Bill: Bye now. - Tracey: Thank you. Bye.
- Bill: I'm from Scotland. Woman in car: You sound like...
I love your accent.
Bill: But when I was ten years old, I ended up living here for three months.
Woman: Okay.
Bill: And obviously Lexington was a different place than it is now.
Okay, can we give our names?
Yeah, see Tracey here, who I work with.
She's got the list of names,
so if you get a name and a mobile number, we draw, and...
- Do you live locally? - We do, we stay here in Lexington.
- Bill: Oh, okay. - Been here all our life.
Woman: What are y'all doing? Building something onto the house?
Bill: Building a bed.
- Oh. That's neat. - Do you need a bed?
- Nuh-uh. - No, okay.
That is really loud.
How long's it gonna take you?
Bill: I'll be done within the next two hours.
- Tracey: Yeah, so next two hours. - Bill: I hope. I hope.
Oh my goodness, that's awesome. Then where do you go?
Bill: Well, we're do... I'm doing stuff all around Lexington
over the next week and a half.
That's good. Are you his wife?
Tracey: No. We work together. We're both artists.
Oh, okay. Well, that's awesome.
- Paul? - Paul: Bill?
Did you film... Film us doing the...
You must have filmed us making the bed in kolkata, yeah?
Paul: Yes, we certainly did.
Can you remember? It was outside the hotel.
What in the street, or not?
- No, it was outside, in the hotel foyer. - Okay.
Remember there was a really accommodating guy there,
- who was like the manager of the hotel. - Okay, yeah.
And then you took the bed up, and you put the bed into
the hotel room where we'd been staying.
- Yeah. - So there was two single beds in there.
Paul: Why do you ask, bill?
I just can't remember.
Well, I know... I can remember that the wood was very difficult.
Nearly there.
- What did you say? - I said I'm nearly there.
Tracey: Which way are you putting it down?
Bill: I'm putting it down this way,
and then you can go at the back.
- Tracey: The back? - Bill: Yeah.
Tracey: Ooh! Oh, it's heavy, innit?
- I forget how heavy these are. - Bill: Okay?
Don't film me!
That looks cool. All it needs is a mattress now.
All it needs is a mattress, some bed covering, and some paint.
Bill: You've got very lovely grandchildren.
- Best to check it. - I know, it looks like it's real sturdy.
It is. Solid as a dollar.
Okay? Okay?
Woman: It's not heavy, but it's solid.
You gotta read it out.
Okay.
- Trish? - That's me then.
You won the bed!
Bill: One, two, three.
Okay?
Now you come around there, and then we go over.
- Is this too heavy for you? - Girl: Nope.
Tracey: Do you want me to do it if it's heavy?
Bill: No, I think she's okay.
Trish: You made a bed that looks real sturdy.
It is! Nice and heavy.
Bill: One, two, three. Okay.
You get it now, take it over.
That's us done for the day.
Trish: Well! Thank you very much,
and I enjoyed watching you all make it.
Bill: I hope you find a good home for it.
As I said, we'll be up early next week
with a mattress for it.
Okay.
Trish: He lived here for three weeks, or three months, or something
when he was a young boy,
but he's doing this all around in different countries.
He's building this bed,
basically talking about what a bed symbolises.
You know, something that comes to you.
You buy a bed when you get married,
you know, you have a bed when you're having a kid.
You know it goes through your whole lifetime, the bed, so...
All kinds of things.
You dream on the bed,
you think about things on the bed.
Beat each other up on the bed. You know.
Whatever on the bed,
you gotta do everything on a bed. You need a bed.
That's neat.
Bill: 71963. My father was a minister
in the presbyterian church,
and you could do this thing called an exchange
where he goes and becomes the minister
in a place called Lexington in north Carolina.
And so we move over there for three months.
And in those days, only film stars and politicians flew.
So we went on a ship.
Took five, six days to get from southampton,
ship across, and come into New York.
- Avujit: Okay, New York. - Bill: New York.
So from our teeny-weeny little town...
- Avijit: To New York. - Bill: To New York.
- The thing that maybe I mention... - Avujit: How old were you then?
Bill: Ten. Avijit: Ten.
Bill: 1963, and I imagined this city of, er...
You know, Manhattan or New York just shaking at night.
Hey.
Woman in car: What are y'all doing?
Bill: Baking a cake. I'm a man!
Woman in car: Your documentary? About what?
Bill: About me doing different things here.
- Woman: You're english? - Bill: No, I'm Scottish.
Woman: Scottish, okay, how are you baking them there?
Bill: Well, I'm doing it in a toaster oven.
Bill: Okay?
And it's a bit of an experiment.
- Woman: Oh, okay. - Bill: So this is the first one's gone in.
Woman: Okay, that beats everything!
Bill: Okay. All right, see you later. Bye now.
Fantastic!
Only eleven more to go.
Bill: We spend the night in New York,
and then we are to get a train from grand central station down.
I'd never been with so many people, never, you know?
Crowds and crowds all going to the station.
And there's a sea of people, and there's this one person
sitting up on a high chair, facing us,
and I don't know what he's there for. He's higher than us all.
And as I get closer, I realise he's having his shoes shined.
- Avuit: Uh-huh. - Bill: I'm thinking "wow!"
And my favourite job at home was shining shoes.
And I remember thinking "that's the job I want,
"what a fantastic..."
I couldn't understand why anybody else
would have somebody else shine their shoes,
- but he's being paid to shine shoes. - Avuit: Right.
Bill: Obviously, as a ten-year-old, I didn't take on board
that the guy on the floor shining the shoes was black,
- and the guy... - Avijit: Yes, people still do that,
- but the black and white... - Bill: Is dissipated now.
Avuit: "Dissipated” is the right word, yes.
Bill: But this was pre-civil rights.
Avuit: When they had separate bathrooms.
- Bill: You know, it was all completely... - Aviujit: The bus, you had to sit at the back.
Bill: Yeah, it was all like that then.
Bill: And then we got to this Lexington in north Carolina.
In the middle of this town, there was a courthouse.
And outside the courthouse there were these stone steps.
And if you wanted somebody to cut your grass,
or paint your... outside of your house, or anything,
you'd go down there, there's always some black men hanging round.
And you'd go and you offer them a few dollars,
and they'd come and cut your grass, or whatever the job.
And the reason why they went there, these stone steps
is where they used to auction the slaves.
And when slavery was abolished, after the civil war,
black men would go there
because they knew that's where the white man comes to get you.
And I couldn't believe that this thing was still there.
- Avujit: A prevalent thing? - Bill: Yeah.
But also, at that point in time, in 1963,
there were people still alive who were born into slavery.
And so I met people whose grandmothers or grandfathers
had been working slaves.
And then, the white community, whose grandparents had been slave owners.
- Bill: Paul? - Paul: Yes?
Bill: / somehow think this is not gonna happen here.
Paul: I know, it's very difficult to, er...
There is no shoes here.
I can Polish my own, but that goes...
Paul: I know.
I think we should at least sit here for the duration.
- I've seen at least two pairs of shoes. - Okay.
Excuse me! Do you want your shoes shined?
No.
Man: What is the meaning of the words?
- What's the meaning? - Yes.
Have you read this? So I'm collecting dreams.
Bill: I can't hear. I'm too deaf.
Okay. Okay.
See you, bye now.
Paul? I think this is wrong.
Here. I really do. I somehow think...
It's not that I feel personally uncomfortable.
Well I do, but not...
This is the first time I've done something here
where I'm actually thinking,
"this isn't..."
Paul: It's entirely up to you. If you want to, you can...
Bill: Okay, I can Polish his shoes!
She is asking, can you change their skin colours?
Bill: Can you write in my book?
- Ask him for his dream. - Man: Yes.
Just... but just short, not long. Just a short...
Man: Yeah, I know, briefly. Dancer? What's the dance?
Pop dancer?
Listen, bill.
He like to be pop dancer in future.
- You what? - Pop dancer.
- Fine. - Is good?
Bill: Euckin' hell!
Okay.
Bill: One of the other things I'm doing in Lexington,
is doing this "baking a cake" thing.
And I've got a map of Lexington,
and where I bake the cake's going to be in the centre of the circle.
And then I'm going to be delivering the cakes
to different places on the cake circle.
And, to distribute the cakes...
Is it your son, or your...
- The 35-year-old guy? - Oh, my son.
- What's his name, again? - Matthew.
Matthew. We need... Does he drive?
Matthew: Have you ever had a real job?
Like me, like work in a factory, or...?
Bill: Worked on building sites doing woodwork, you know?
Matthew: Oh, so you were in construction, kind of thing?
- Bill: Yeah. - Matthew: Okay, cool.
But, the way that I learnt it,
they don't use it anymore.
So when I was young, and did it,
I always thought that if things go wrong for me
I can go back working on construction sites.
Oh, I haven't got my seatbelt on.
But the technology used now has changed and evolved.
I know, 'cause when I was looking out the window,
seeing the camera crew out there, woke up and saw the camera crew,
I'm, like, "what in the world goin' on out here?"
So then I asked my mom
and I started looking, I'm like,
there's just a man out there beating on wood,
but the same man making beds,
and, from my point of view, he's just beating on wood.
I don't see no bed progressing, nothing coming up.
He's just gonna conjure a bed up, or something.
Then my mom had it on the porch,
I'm like, "oh yeah, he did a whole lot."
All by hand.
Yeah, that's what I'm saying. It was like kinda antique unique.
Bill: Hi. I've baked you a cake. Here it is.
Man: No, thank you.
You don't want cake? Okay.
Bill: Excuse me.
I've baked you a cake. Here it is.
- No? - No, I don't want no cake.
You don't like cake?
- Okay. It's free. - No, I don't want no cake.
- You don't want a cake? - No, no, it's fine.
Okay.
- Bill: Pardon? - There's a reason behind that cake.
Bill: The reason...
Is the Lexington cake circle.
I go to a different city, in a different country,
I bake six cakes myself, completely from scratch,
with flour, butter, sugar,
and then I draw a circle on the map
and I go to people's houses that live on that circle,
and I say, "I've baked you a cake. Here it is."
And if they take the cake, and if I give away all six,
that's the Lexington cake circle constructed. That's the reason.
- There's nothing else. - I knew there was a reason!
Bill: So, it's... You can say it's an art thing.
- Nothing else. - So who are the film people?
Bill: The film people are making a documentary
about me working in Lexington.
- Ah, okay. - Where are you from?
Bill: I'm from Scotland. You'll take the cake?
Okay.
- One down, five to go. - Yeah!
She took it. She went for it, and it's a good cake.
It's pretty cool, 'cause me and the director was just talking,
and, you know, a lot of people are sceptical.
Of course they are. That's the whole point of it.
- Yeah. - You know, for me it's the story.
I shouldn't be telling you all this when they aren't...
- Yeah, yeah. - Maybe they are filming this?
Yeah, we're filming, that's why we gotta match the sound.
What you're saying, like,
in this town, this is really rare and weird
to see a whole full camera crew out here.
Then you got random white guys walking around
passing out cakes in the hood.
Pretty much they're like "errr...
"I don't know, maybe if you take the first bite,
"I'll take the cake,” you know.
Well, if they said that to me, I would do.
Yeah.
Bill: Hiya. I've baked you a cake. Here it is.
Okay, all right, thanks a lot.
No explanation. You're on the Lexington cake circle,
which means I bake six cakes.
If you're on the Lexington cake circle, you get one of these chocolate cakes.
There's no...
Man: I appreciate it. Thanks.
- Bill: Thanks. What's your name? - Kishane.
Bill: Kishane, my name's bill drummond,
it's part of a thing I'm doing in different cities around the world.
But this year I'm in Lexington, north Carolina, doing different things.
- Kishane: Yeah. - And that's what I'm doing.
- Bill: And they're making a film. - Kishane: Oh!
- Bill: They might ask you about that. - Okay.
- Bill: And your dog's name? - Kadino.
- Bill: Kadino? - Don't ask me how to spell it.
Bill: Okay, thanks a lot. Bye, now!
Matthew: And you do all this voluntarily? You know, money?
Bill: Well, some of the stuff... I get paid to give talks.
People will pay tickets to come along and hear me talk.
Like a motivational speaker, or just, er...?
Well...
Not motivational, because we don't use that word,
but I know what you mean by "motivational".
- Yeah, I mean, like, just somebody... - But, but...
- Somebody who's just on stage. - And I'm being paid, er...
Yeah, some of the things, like I do books.
You know, I sell books.
- This your book? - This is like, er... for an exhibition,
so that's why I've taken it out.
To show them, to show the people. You know?
Robert: I'm going to suggest that
you explain the next stop fo Matt, and they shoot it.
Bill: Okay.
It'll look like we're actually doing it,
and you aren't... You don't exist.
- Robert: Right! - It's just between me and him.
What, he's gonna be sitting in the back, or...?
No, no, no, no. He wants it so I'm explaining, okay
this is where we've gotta get to, as if there's no crew here.
- Oh, okay, okay. - As if you're having to work.
- Do you know what I mean? - Yeah, yeah, yeah.
- So, like acting on a level? - Yeah, we're acting it.
Even though it's a documentary.
Bill: And that's where we are now.
That's where we've gotta get to next, which...
- Matthew: Quiet road or something? - Bill: Yeah, quiet road,
ahd stamford road.
- Quiet drive. - Matthew: Oh, okay.
Man: How's it going?
Bill: Hiya.
Man: What is going on?
Bill: I'm constructing the Lexington cake circle.
Here's a chocolate cake for you,
for nothing, six of them.
When I've delivered all six,
this will be the Lexington cake circle.
- Man: The Lexington cake circle? - Bill: The Lexington cake circle.
I've been doing them in different cities around the world.
- Uh-huh. - This is the only one in the usa.
- Woman: Hi, there. - Bill: Hi.
- Woman: Hi. - I'm bill.
Man: Very nice to meet you.
- Bill: This is Tracey. - Tracey: Tracey. Hello.
Bill: Have you had a listen to it?
Man: Yeah, yeah, we were just playing and jamming it out.
Musician: Let's do it.
Heard you was, um...
Kinda like a big rock star back in the day.
Or something like that. “Who said that?
They said you did kinda like music.
You told me you did music, but it was kinda like...
It wasn't rock music, though.
Okay, so you were like a pop star or something?
Well, it was music... Yeah, it was music, you know.
And some of it was successful, you know.
Mm-hmm.
You don't wanna go into a little detail on that, or...?
He said it was an interesting story.
Yeah, but he's trying to trick you into asking me
so they can get it on film, and I don't want to be talking about that.
- Oh, okay. - That's what he's doing.
You ever met anybody famous, like worked with somebody famous?
Um...
Er... okay, okay.
I've been in a room in a recording studio,
and Michael Jackson walked in,
and he... But it was the wrong room,
and he said, "oh, sorry, sorry to interrupt you,"
and then walked out again. Okay?
- He's famous. - Yeah. I was thinking of somebody like
an actor like will Smith, or somebody like that.
Nah, I haven't worked with will Smith.
- Matthew: How'd it go? - Bill: That's it done!
Paul: Hey bill, aren't you going to say
"the Lexington cake circle is complete"?
Bill: Oh, yeah, okay, okay, okay.
Paul: Do I have to feed you all your lines?
So what I've got to tell you now is
the Lexington cake circle has been constructed.
It can never be taken away,
the fact that those six people have accepted those cakes,
even if they throw them away,
even if when their wife or whatever comes home and says,
"what? You've just accepted this off someone in the street?"
And put it straight in the bin. It's done. It's done.
Tracey: Try over there first, but the house is in the background.
Bill: I don't want houses in the background.
No, I don't want houses in the background.
This is called alligator creek,
- so you need to watch your feet. - Watch my toes!
Bill: What we did in Birmingham with my jeans.
You know like I told you, I have all the jeans
to last me for the rest of my life, okay?
And the jeans, they are all stacked up in a cupboard in my house.
So I have enough jeans. I'm hoping to live till I'm 72.
Obviously something might happen, I might die,
but my grandfather died,
dropped dead of a heart attack at 72.
- So I'm hoping... - Tracey: That's your benchmark of life.
That's my benchmark. That's when the tour ends.
When I getto 72, and I have enough jeans to last me till then.
I hope you live longer than that, though!
I'm 63 now, so that's...
So for each pair of jeans, 'cause you've gotta soak them to shrink them,
so on Sunday I shrunk a pair of jeans
in the canal underneath spaghetti junction.
So that photograph you saw, I'd just been in the water,
sunk myself down, got up,
stood on the bank on the thing
and then Tracey took the photograph.
And I want to do... I have another brand new pair of jeans with me,
because I always have two on the go.
Avuit: So you want to do it in the Ganges”?
I wanna do it in the Ganges.
I'll go to the Ganges with these on,
I will take these clothes off,
and put on my brand new pair of levis that are too big for me,
soak myself, come out, when it dries...
- Avuit: Yeah. - Bill: It does the shrinking,
so it's the kind of the symbolic moving.
But I always have to have two new pairs of jeans.
Avijit: Elaborate a little bit on the abstraction of this.
Because I'm seeing it as an artwork.
I know there's a performance in some sort of way,
but a performance as in
anything religious has performance.
Tracey: It does have religious connotations, though,
as in the baptising, and the whatever.
Yeah, because every religion...
Not every religion, but a lot of religions,
as the hindu religion, and a lot of aspects of christianity, has baptism.
Avuit: Baptism.
Bill: Obviously, because of my background,
biblical stories resonate in me.
And that doesn't mean I'm a practising Christian or whatever
- but it resonates. - Avuit: Right, right.
Bill: On this world tour, the second last place is Jerusalem.
And there's a gate there from the ancient city called the Damascus gate,
and I am planning on walking from Jerusalem
through Damascus gate,
to Damascus.
And, hopefully, the world has moved on a bit.
- For the end of the tour. - So the last city is Damascus.
- Avuit: It's the last one? - That's the last city.
- Avijit: And you'll be 727? - 72, yeah.
So I'll be helping him on sticks then.
Bill: And I would like, on that walk,
because the sea of galilee is further north,
is towards Damascus,
I'd like to, for my last pair of jeans,
fo go into the sea of galilee with them,
and that's like in west, the... The... you know, dama...
What's it called?
A damascene conversion? Is that the word?
Bill: Are you going to take more photographs before I fall in? Okay.
It's just I really like that, with that dangling down flower stuff.
Put your leaf arm down, your flower arm down.
Perfect.
Okay, fabulous, thank you.
Right, do you wanna do your falling-in, then?
We ready for this, yes?
I gotta find out where the...
No, where the edge is, okay?
Now, I don't know if I've got the bottle to do this.
Tracey: Okay, can you put the Mike up just a bit?
One, two, three.
Okay?
Tracey: You all right?
Paul: Do you need a hand?
Tracey, give him a hand up?
I'm all right. I'm gonna see if I can get to these steps, okay?
Woman: What are you actually trying to say?
Between the soup, and the bed, and, er...
Anything else that you do, how does this all come together?
Bill: I... I... look, you know, I'm doing this twelve-year world tour,
which I'm doing these things at different places.
Maybe at the end of the world tour, I'll be able to sit back in my rocking chair
and I can look back and think, "oh yeah, that's what that was about,"
but right now, I don't know.
That was really good, bill.
That looked really good. It just went "oooh".
Bill: / know some of the things are to do with
wanting to do very, very simple things.
Like making soup. Like making the bed.
Woman: So what is the title of all this gonna be?
The title of the world tour
is just called "the 25 paintings”.
- So I've got these 25 canvases... “Woman: Mm-bhmm.
Bill: And one just says "make soup". One says,
"knit", because I do this knitting thing.
Oh, I was going to bring the knitting out tonight.
- I forgot to do that. - Trish: Oh, you knit, too?
Yeah, I've been doing this million stitch blanket.
Trish: He cooks, he builds, he knits, he's a regular Martha Stewart.
Bill: I'm a regular what? What did she call me?
Woman: Martha Stewart.
Bill: Who's Martha Stewart?
Bill: Actually, you may as well just all help yourselves.
Bill: This is not about being a chef.
Josh Harris: Well, yeah, but someone who knows, like,
how to be so creative, like...
Bill: No no, if there's anything creative, it's the conversation.
Josh: All right, I'm starting to learn about you, bill.
Like, I've really been interested to see
what your documentary and everything is about, because I don't...
It's his doc... Where has he gone?
It's his documentary. “Who?
- See the guy there, waving? - Oh, Paul.
Yeah, he's the director.
He's the one that wants to make the documentary.
- All right. - I'm just the kind of...
The kind of thing behind the cage.
Josh: So it's an eight-year documentary, right?
Bill: No. It's a twelve-year world tour, which I'm doing.
He's making a documentary based on two of those years.
- Josh: Oh. - Bill: So last year, kolkata in India,
and this year, Lexington, north Carolina.
That's what the documentary's based on.
Josh: Wow.
Bill: But in each place on this world tour,
I find some musicians by accident.
Like standing in a queue in a coffee shop, overhearing you,
so I thought, "they're musicians”.
So last year, it was classical Indian musicians playing the track.
Josh: Well that's gotta be at least, like, a little rewarding,
that, like, people are playing your tune.
And they don't even know who you are, you know?
And they play...
Like, I didn't know who you are.
- Bill: But that doesn't matter, does it? - No, it doesn't.
I met everyone on Monday,
and all these things have happened through the week,
and I've been so confused as to, like,
not even what you guys are doing,
but just how that makes me feel.
Um...
Because I just don't know what happens.
Like, I don't know how to, like, make it make sense in my head.
Do you have to... Does it have to make sense?
- I don't think so. - I would, you know...
I don't think it has to make sense, no.
I'm not trying to make sense.
I think what I've been doing,
like making the soup, which I've gotta stir.
These are very basic things.
Josh: I really hope that the rest of your life is fantastic,
and I would say that to anyone regardless of
there's a car over there shining lights on me,
or a guy holding a boom Mike, and cameras and shit.
Like, this is just me, and I hope you believe that.
Bill: Well, that's nice of you to say
but I'm not bothered if it goes well or not.
Josh: Good! Good! Yes! Yes!
Because it doesn't matter.
You can't control these things.
- Josh: You can't. - So there's no point.
One of my things is, one of my phrases is,
“life is too short to be wasted on the pursuit of happiness."
Right.
Because happiness comes and goes,
you know, and you can't control it.
Josh: No, you can't. I think happiness is a choice.
- Bill: No, it's not a choice! - Josh: Ah, okay.
No, no. You know.
Josh: Well, maybe for you it's not a choice.
It's not a choice, no. You know, you can wake up
one morning, you feel happy, and another day something happens.
- You get run over, you know? - Josh: Right.
You don't have a choice in that.
You know, you can't control...
So many people waste so much of their life
desperately trying to be happy,
all the time,
by drinking something, or doing something,
or thinking that'll make them happy. You know?
Josh: Right. It's just something that happens to you.
Bill: But I need to find where the bread is.
Josh: Okay.
"Bill": I've made a decision.
Well, I think I've made a decision.
"Tracey": Yeah?
I've finally plucked up courage
to watch the ten-minute trailer that Paul Duane has made
for the film about the 25 paintings world tour in India.
"Tracey™: And?
"Bill": Well, you know how you said
that it captured the real essence of what I'm trying to do,
and it got to the real me?
"Tracey": Yeah. "Bill" well...
It seemed to me that everything that I was doing,
everything,
the bed building, the cake baking,
the shoe shining, the banging of the drum, all of it.
I seem to be doing it
just so that you can document it
by taking a photo.
"Tracey™: So what are you saying?
What am I saying?
Yeah, come on, bill.
Bill: "I'm not sure."
I'm not sure.
- Bill: "Up until now..." - Up until now, I thought that
the photos that you were taking were brilliant.
No, and they are brilliant.
They do, they catch,
and they frame what we're trying to do.
But, seeing that, that changed something.
"Tracey": But what?
But what?
Bill: "Something in me is wanting to..."
Yes! Something in me is wanting to ditch
using photography to document what I'm doing.
"Tracey": But it's me that takes the photographs.
"Bill": I know, but... "Tracey": But what?
"Bill": I want to look at how to document
what I'm doing, in the form of written plays.
"Tracey": Okay, I get the picture.
"Tracey": So will I still be going, even if I'm not taking photos?
"Bill": Yeah, of course. "Tracey": Just checking.
"Bill": You'll be directing the plays!
But...
- Yeah? - Bill: "But right now..."
Right now... yeah?
- Bill: "They seem a way..." - They seem to be a way
for me to explore something.
But you don't know if it'll ever be performed.
And even if it is,
it will only be seen by a very few people.
But, those very few people
will make a commitment to be there,
watching the play as long as it lasts.
"Tracey": They could walk out.
"Bill": Just you fucking dare!
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