London Overground at the Genesis Cinema

Genesis Cinema

The other week London Overground screened to a great audience at the Genesis Cinema in Stepney Green, close to where Iain and I passed on one of the walks in the film.

Iain Sinclair London Overground film

I really enjoy doing the Q&A’s with Iain Sinclair at these events – we did a number while making the film, screening short extracts and talking about the process as it was emerging. It was a wide-ranging discussion covering Iain’s most recent project with Andrew Kotting, Edith which features briefly in London Overground. Iain also mentioned his 90’s collaborations with Chris Petit, how these overlapped into our Overground film and my willingness to just go out and film at a moment’s notice – what Iain described as a “cinema, literary, performance nexus as a kind of community”.

Iain Sinclair John Rogers London Overground

The issue of what is happening with the development of London of course was raised and I mentioned my work filming various campaigns around London. Iain talked of the “corruption of language” being used by developers and local authorities which he sees as a “defilement” triggering his desire to “go back to the language of poets who have taken on the city”.

The next screening of London Overground is 2nd November at Leytonstone Pop-Up Cinema

Notes on Patrick Keiller’s Robinson in Ruins

Robinson in Ruins Keiller

Flicking back through the large notebook on my desk which has a Casey Neistat sticker on the cover, I find the notes I made while watching Patrick Keiller’s film Robinson in Ruins at the beginning of last year.

I had seen the film at a special event at the National Film Theatre at the time of its release in 2010 but felt I needed to watch it again – I watched Keiller’s London so many times I wore out the VHS tape.

Here are the notes I made in their raw form:


“The wanderings it describes began on 22nd January 2008”
– this is the same time as the Silt Road journeys began. What was I doing in January 2008? Starting work on London Perambulator. 2008 the year of the financial crisis.

Robinson communicates with “non-human intelligences” living in marginal places – shot of a sign on an arterial road – roundabout – edgelands. They (and Robinson presumably) are concerned with human survival – are they insects rather than E.Ts?

Robinson drawn to London from Berlin in the mid-60’s by the ‘swinging sixties’ and presence of so many prehistoric structures in the landscape. Footpath that was once a Roman road leads Robinson to a gasometer (mirror of the standing stone he visits?) then on to Lidl on the site of the first Mini factory.

robinson in ruins

I stop the film to check my Twitter feed – tweet from London Port Authority: “2014 port trade 3% up at 44.5 million tones: tonnage up across cargo types”
A port statistics update while watching a Robinson film – how serendipitous.

Mention of IWCA in Oxford. Quotes 17th Century antiquarian in reference to a physick well. Then on to Plato and Epicurus in relation to climate then an update on the financial situation. Footage of a substation.
Robinson is a Prepper.
Returns constantly to boarded up house with scaffold first seen at start of film – a motif?

Sets out for Harrowdown Hill – April 10th – the death of Dr David Kelly – not far from Brize Norton – physical link to Iraq.
Spends the night in the enclosure of a mobile phone mast.

robinson in ruins
Military infrastructure gets mentioned a lot – the SOE wartime comms on a hill, railway line used by military.

Broad Street Oxford – the postbox set in the wall on the street corner another recurring motif. Robinson’s disappearance in the 1990’s and his companion’s publication (the narrator’s lover – this bloke had also been Robinson’s lover or have I got confused) of a report based on their work that led to him becoming a government advisor – “transformative potential” of “images of landscape” – linked to well-being. Back to shot of lichen on roadside – grows near nitrogen pollutants. Primroses in a lay-by. Note on UK climate and primrose seed transportation.

MayDay on the Ridgeway.

Horse Chestnut imported from Turkey in 17th Century.

robinson in ruins
Greenham Common nuclear warheads withdrawn – US Airforce base opposed on basis it infringed commoners rights. Now restored to Commons and open access by Newbury Council. Remains of US base stand in the fields where now cattle graze. Declared SSSI in 1985. Natural order restored.

Robinson moves on to Roman Silchester. He is now a marginal figure – semi-vagrant – bit of a weirdo.

The U.K Rocket industry embedded in the countryside near the Icknield Way (Blue Streak) and the Government military underground fuel pipe that possibly follows this Neolithic path.
Bright fields of poppies grown for medical diamorphine.

Robinson is a surrealist who has encounters with flowers – biophilia.

Very long shot of white foxgloves swaying in the breeze.
Long shot of butterfly on teasels briefly joined by a bee.
A great example of SLOW FILM

Watching the film I realize I am neglecting the book I am working on – carry on watching the film anyway.

Robinson in Ruins is set against the backdrop of the financial crisis of 2008. London takes place around Black Wednesday in 1992. Is this coincidence or does Keiller/Robinson have a nose for financial catastrophe?

At this point I stop making notes and just watch the rest of the film.

Interview about psychogeography and London Overground on Celluloid Wicker Man

celluloid wicker man

A couple of weeks ago I met up with film-maker Adam Scovell in the Olympic Park and we had a great chat about my London Overground film with Iain Sinclair, psychogeography vs deep topography, the development of London etc.

A: So where does London Overground fit into this then?
J: Part of Iain’s genius is, in the book (and I hope it comes across in the film), dealing with a really unwieldy idea and set of issues to get your head around by addressing it with such a universal idea.  I’ve been documenting various campaigns around London over the last few years, starting off with the E15 and even before.  And where you look at it on a case-by-case basis, there are economic patterns that underpin this and ways which different local authorities deal with this.  But, if you try and find a universal narrative, something that links it all together, it can be quite difficult.  Also, from a campaigning pointing of view, you deal with specifics.  So London Overground takes the simple device of walking in a day around the Overground, looking at that circuit, which is newly completed (before you had fragments) so we have a new circuit from disused track that ran from Dalston Junction to Whitechapel and other bits to complete a circuit that didn’t exist.  In doing so, in a microcosm, it tells you the story of what’s happening in London today.

Have a read of it here on Celluloid Wicker Man – and also check out Adam’s Super 8 films

There’s also an edited version of the interview here on 3:AM Magazine

London Overground Q&A with Iain Sinclair at the East End Film Festival

After working on London Overground for almost exactly a year it was a special moment to see it fade up on the big screen at the Rio Cinema in the East End Film Festival on 2nd July. It was the first time I’d watched the film all the way through without changing it and tinkering in the edit.

I sat next to my 13-year old son in the 4th row and out of the 170+ people in the auditorium it was his reaction I was most attuned to. He fidgeted in the way you’d expect a teenager to but at the end he said, almost surprised, “I enjoyed that”.

Iain Sinclair & John Rogers

The Q&A with Iain Sinclair afterwards covered the basics of how the film evolved and then towards the end into the territory of discussing ‘the state of London’ and various responses to it. When I’m doing these events with Iain I always feel like I’ve got the best seat in the house to sit and listen to him talk – but with the added bonus that I get to contribute.

The film now takes on a life of its own – once screened it is liberated. There are more screenings planned for the autumn and winter as I start to turn my mind to future projects.

London Overground world premiere trailer

The world premiere of London Overground is on Sat 2nd July at the Rio Cinema, Dalston screening in the East End Film Festival. I’ve been working on the film for almost exactly a year now following on from the interview I shot with Iain Sinclair about the book. Shortly afterwards we shot the first section of the Overground walk with Andrew Kotting – strolling from Rotherhithe Station to the Thames shore then down to Surrey Quays through Andrew’s old memory grounds. We stopped in the same cafe they did in the book, La Cigale near Greenland Dock.

Iain Sinclair Andrew Kotting Overground film

From there we dropped by the Cafe Gallery in Southwark Park where Andrew deposited a found object from the Thames shore, and passed by the New Den to Queens Road Peckham. The walked ended with possibly one of the most extraordinary things I’ve ever filmed … but you’ll have to watch the film to find out.

The next shoot with Bill Parry-Davies of Open Dalston picking through the horrors of regeneration around Dalston Junction and getting to the heart of the Overground loop and it how it gave birth to a new model of property development in London underpinned by overseas investment.

Iain Sinclair Wapping John Rogers

In autumn and early winter Iain and I walked alone in two stages from Haggerston back to the Thames at Wapping. Here we traversed key landscapes in Iain’s life and writing – the East End, Truman Brewery, Anti-University, Hare Marsh, Whitechapel, St. Dunstan’s-in-the-East, Narrow Street, Wapping.

Iain Sinclair Andrew Kotting Overground film

I was back out on the road with Andrew and Iain early this year as they reprised the Overground walk in full but in reverse – starting in the evening and walk counter-clockwise through the night arriving back in Haggerston at 10am the next day. I only stayed the course as far as Hampstead Heath but strapped a GoPro to Andrew’s head to capture highlights of the rest of the circuit.

Iain Sinclair Chris Petit overground film

We headed to the northwest quarter with legendary Radio On director and noir novelist Chris Petit to explore Willesden Junction – which confirmed Iain’s idea that the Overground was a ghost railway.

The rest – oh, there’s loads more including great contributions from Marcia Farquhar and Cathi Unsworth, a brilliant soundtrack from the likes of Standard Planets, Bill and Adam Parry-Davies, Free Seed Music, and Rosen.

John Rogers Andrew Kotting Iain Sinclair

Hope to see you at the Rio on Saturday.

Film talk – making London Overground, 10 years on YouTube etc.

I don’t usually make videos like this – just talking to the camera, I much prefer to be out shooting on the hoof. But since I’m imprisoned in my box room finishing the London Overground film for the premiere in the East End Film Festival it seemed like the natural thing to do. I did try and record it by the river at Chelsea Harbour, but being battered by the wind muddled my brain.

I ended up reflecting (again) that I’ve been on YouTube for 10 years now – an eternity for a website just 11 years old. The first video I uploaded was an excerpt from a walk I’d done with Nick Papadimitriou in 2005 following the northwest Middlesex main drainage scheme – Deep Topography with Nick Papadimitriou. There is a direct link between that video and the London Overground film (as explained above) so it’s apt to be finishing the film this year.

 

Talking about London Overground film on Soho Radio

Went in to the wonderful Soho Radio on Wednesday morning to talk about my London Overground film with Ben Ramble and Holly Horne on their show Free Seed on Soho.

It was a suitably rambling chat (you can listen to the entire episode above) where I went on about YouTube for too long, but then it is integral to my development as a film-maker and also as a writer. I’d also recently realised that I’ve been on YouTube for 10 years now which is a bit of a landmark when you consider that the platform is just over 10 years old itself. We touched on the work-in-progress screening at Close-Up the week before where we screened 20 minutes of footage and discussed the film and book with Iain Sinclair.

Iain Sinclair John Rogers

The morning after the Close-Up screening I went out to do one of the final shoots with Iain picking up the Overground trail at St. Mary’s Church Battersea where William Blake got married Catherine Boucher in 1782.

The finished film will premiere in the East End Film Festival which runs from 23rd June – 3rd July.