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Underworld’s Karl Hyde visits Saffron Screen for Q&A
As part of Saffron Screen’s music film season, musician Karl Hyde of Underworld will visit Saffron Screen on Monday 23rd September with director Kieran Evans for a Q&A following their moving documentary about the Essex and London borderlands, The Outer Edges.
They will be answering questions about the film, music and influences, giving audiences an exciting and intriguing insight into the music and film making.
The Outer Edges documents a journey that follows the flow of the River Roding from its source to its conclusion at Barking Creek and along the Thames Gateway to Tilbury where the river meets the sea.
Mixing a traditional documentary format with a psychogeographic slant, The Outer Edges is built around a series of stunning visual snapshots of locations along this route and explores the stories and reminiscences of real-life characters Hyde and Evans met along the journey. Stopping off variously at allotments, boxing clubs, Saturday markets and working men’s clubs, the film celebrates the vibrant energy and attitudes of the people living and working within London’s invisible borders and offers a fascinating insight into the lives lived along the edges of the city. The film’s soundtrack is comprised of tracks from Karl Hyde’s critically acclaimed 2013 album Edgeland specifically reworked for the film.
The film’s director Kieran Evans’ credits include the Saint-Etienne-scored Finisterre and his acclaimed debut feature Kelly + Victor, due out later this month.
Electronic act Underworld have been equally adept at recording their trademark ‘dancefloor anthems’ as they have at producing esoteric musical ‘soundscapes’. The last few years have seen them record soundtracks for films by Danny Boyle and Anthony Minghella, the National Theatre’s production of Frankenstein (showing at Saffron Screen for Halloween) and, of course, the soundtrack to the Opening Ceremony of the London 2012 Olympic Games.
The Outer Edges is part of Saffron Screen’s first music film season, which sees concert based documentaries sit alongside observational documentaries, mockumentaries and live performances.