Leslie Feist Waxes On Her New Documentary

We adore Feist's music—it's the kind we put on repeat when we're in the tender sort of mood or want to dance through subway turnstiles. But if you still haven't fallen in love with the Canadian singer-songwriter's soft melodies, her new documentary film "Look At What The Light Did Now" could easily win you over. Illuminating the artist's collaborations with the people surrounding her, the film is a poetic take on the creative process of making music, specifically her Grammy-nominated album "The Reminder." Feist is the kind of artist who collaborates not only with other musicians, but with shadow puppeteers, thread muralists, and filmmakers for a multimedia experience that we can't help but be wooed by. The film, directed by Anthony Seck and produced by Jannie McInnes, and sold as a DVD, comes with a bonus audio CD which includes live performances and short film. Click through for Leslie's virtual tour of the documentary!
For screenings in your area, go to www.listentofeist.com/lawtldn
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"In Saskatchewan, there's an annual rodeo called Buffalo Days. I found this rodeo princess leotard in the costumes section of the Value Village in Regina for about $8 while out shopping with my Grama one day. It was intergrated into the Gonzo show along with a trick cigar with a sparkler in the centre that I would roll out in an elaborate Vanna White type magic trick, place in his mouth, and light. He'd be wearing a silk bathrobe by this time, and have a sweat-filled towel around his neck like a boxer."
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"Yes, I know the multi-colors look like either an American Apparel cult or a childrens' theatre troupe. As for my sparkle suit, it was the product of a meeting of minds. I had a very clear picture that I should be in blue—specifically, very, very sparkly blue. I didn't know where this certainty came from... but Claire Edmonston, the stylist who was dressing the dancers, suggested this shape of one-piece, and we had it sewn by Tanya Batanau-Chuiko, who is an incredibly gifted seamstress. It wasn't until later while rehashing and toasting over pizza or something with director Patrick Daughters, that it hit me that the video was a bizarre harkening back to this giant Olympic opening ceremonies performance I was a part of when I was 12. 1000 kids formed shapes on a football field, snowflakes, luge tracks, and a dove of peace, and an aerial camera captured the shapes. I then had a eureka type moment when I remembered the below small detail..."
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"Ta-da!"
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"These are matching velour track suits. Gonzo feels he found his Berlin prankster supervillian self in that jacket, and so it was his Amulet Mascot Cloak of Antagonism during all the Chilly Gonzales touring. Because he wore it every night, we needed spares, and so I asked my artist friend Temple Bates if she could not only make him 3 copies, but make me 3 minidresses to match. The rodeo princess sparkler is underneath that, the prize in the cracker jack box. Oh, and that's a "Canada" baseball cap. I bought about 50 of them in kensington market in Toronto before we went on one of the tours in europe and would keep a bunch stashed on stage. At any "yaaaah!" climax of a song, I'd throw it off my head into the audience and duck down and put a new one on, and then throw that one out too."
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"This was shot on a ski hill in either Kentucky, Ohio, or whatever that 3rd state is that meets those 2. The fireworks idea was inspired by my friend Mary Rozzi, who has a postcard on her fridge that says "Rozzi's Famous Fireworks". It turned out her family is one of the oldest manufacturers in the states, and she arranged for Patrick to be able to work with them on this timed choreography. My friend and stylist Karla Welch had been wearing that striped sweater while I tried on whatever else she'd brought along, but the sweater kept winking at me. Another fashionable moment of this shoot was the enormous gauze eye patch I sported after being taken to the hospital for getting shrapnel in my eye from one of the explosions. For weeks I couldn't guide a fork into my mouth bc I had no depth perception, and wondered if I'd be able to see out of that eye. Which I can, thankfully."
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"Lace and a gloved hand, like some boardwalk empire speakeasy show in a basement. Burlesque for a Single Hand? Later, there were jewels tossed willy-nilly like pebbles, and a necklace placed around a silhouetted woman's neck while she clapped her gloved hands. The remaining colored flakes from the confetti cannon is there at our feet."
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"Kyle has just taken off his wetsuit a couple minutes before this. We're in a little gully gulch canyon that fed inland up of a beach in Malibu and Anthony and I had just come to find Kyle to sing his song together for the first time. His friend Lane happened to have a couple peacock feathers on her, and the noise of the ocean was just barely dulled by the folds of canyon we'd jack-knifed back into."
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