104 •Metro Magazine 195 | © ATOM
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(V@MSDCSNFDSSNJMNVGDQHis reminiscences interweave with those of Morrison, also on her
own, who recalls seeing Forster emerge from a car – barefoot
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I’ve always loved intense, nerdy men. They’re my favourite sort of
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rolling pastures and empty sky, give a sense of possibility: this is
a space where the mind is bound to wander and where speaking
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archival photographs to plunge the viewer into the pair’s past, in
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what to think or conveying just one side of the story, the director
thus paints a complex, multifaceted picture. As he has explained:( QD@KKX V@MSDC SN CN RNLDSGHMF VGDQD XNTQD SQ@MRONQSDC AX
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cision to terminate the band in 1989, without consulting Morrison
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tion – before the camera cuts to Morrison and Brown sitting at
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that was the greatest insult.’
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of their mutual commitment to artistic integrity over commercial
ism, but also of their differences. While establishing shots show
Forster walking towards the farmhouse, carrying his guitar, an
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Betweens’ music in elaborate metaphors – ‘It’s like running water
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band. We’re a groovy band and I like that.’
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FODVVDW7KH8QLYHUVLW\RI4XHHQVODQGLQ WRDPDWFKEHLQJ}OLW Above, from top:-ORRISON &ORSTER -C,ENNAN 6ICKERS AND "ROWN -ORRISON
AND"ROWNTODAY-C,ENNAN -ORRISONAND&ORSTERAPROMOSHOTOFTHEBAND