Up until that time, I’d always thought of film as telling a story. Beginning, middle and end. People talking. People actually on screen; Mona wasn’t interested in actors. She’d say that film had been confused with theatre, that she was interested in moving photography. When I asked her what the film was about, she’d describe it as ‘a landscape.’ I never found out anything more. The point of the day was to accumulate the shots. Of the half an hour that she planned to shoot, only a minute or two might make it into the film. And so, as evidence of the day, the tape was unreliable. I’m sure that it took over an hour for us to walk across that field, but there are only three or four shots so now it seems like the least important part.
A Little Chef stood nearby. Although the building doesn’t appear on the film, I remember the way the diners stared down from the long window as Mona set up the camera. I remember admiring the way that Mona could use a camera in these situations, blissfully unconcerned that when you find something to look at, you make yourself a target. We soon left, walking out through the car park, into the fields.
Words © Daniel Bennett