{"id":29984,"date":"2025-06-14T16:29:57","date_gmt":"2025-06-14T13:29:57","guid":{"rendered":"https:\/\/msfilmfestival.fi\/14-6-aamukeskustelussa-chris-petit\/"},"modified":"2025-06-14T16:32:54","modified_gmt":"2025-06-14T13:32:54","slug":"14-6-aamukeskustelussa-chris-petit","status":"publish","type":"post","link":"https:\/\/msfilmfestival.fi\/en\/14-6-aamukeskustelussa-chris-petit\/","title":{"rendered":"14.6. Morning Discussion with Chris Petit"},"content":{"rendered":"

The first film that director and writer Chris Petit remembers seeing was the musical <\/span>Hans Christian Andersen<\/span><\/i> (1952). He recalls wanting to leave halfway through because, as a child, he didn\u2019t like the lead actor, Danny Kaye<\/strong>.<\/span><\/p>\n

Petit began his career as an ad salesman for the London-based cultural magazine <\/span>Time Out<\/span><\/i>, eventually progressing to writing film reviews for the publication. He believes he got the chance to work as a film critic because he knew how to use a typewriter \u2014 a skill, rare for men at the time, that he had learned from his mother.<\/span><\/p>\n

He got to know London in a new way by visiting small cinemas in the suburbs.<\/span><\/p>\n

“Time Out in those days was a very good cultural bible in terms of getting to know London, it was punchy, gave you a kind of map of films to see in London, I went to suburbs to see films in obscure cinemas.”<\/span><\/p>\n

“The one disclipine they had was that you had only 150 words per review, it was also quite opinionated which pissed off a lot of people.”<\/span><\/p>\n

Later, Petit secured funding for a screenplay that became his directorial debut, <\/span>Radio On<\/span><\/i> (1979). The film, which follows a road trip from London to Bristol, has gained cult status, particularly due to its striking cinematography and soundtrack.<\/span><\/p>\n

\u201cWasn\u2019t that much acting or dialogue going on, so the way the film looked meant that I had to do very little what is known as directing.\u201d<\/span><\/p>\n

His vision aligned with the vision of cinematographer Martin Sch\u00e4fer<\/strong>. Sch\u00e4fer laid down some ground rules before filming began: no excessive lens changes, and absolutely no zoom lenses.<\/span><\/p>\n

Petit doesn\u2019t describe his artistic career as a success story, but rather as a series of dead ends.<\/span><\/p>\n

Having published numerous novels, Petit says he turned to writing especially during times when the film industry offered him no opportunities. He recounts that his collaboration with creative partner Iain Sinclair<\/strong> began with a shared love of books. Sinclair sold used books in London \u2014 and Petit was a regular customer.<\/span><\/p>\n

Petit\u2019s latest film, <\/span>D is for Distance<\/span><\/i>, followed a years-long break from directing.<\/span><\/p>\n

The central figure of the film is Louis, the child of Petit and co-director Emma Matthews.<\/strong> At age 12, Louis developed epilepsy. His seizures were prolonged and severe. The deeply personal subject also forced Petit to reconsider what aspects of his family\u2019s life could be made public.<\/span><\/p>\n

\u201cEmma and I, she filmed the seizures because she was told to do this by doctors. We wanted to show that, but at what point do you start to exploit the subject?\u201d<\/span><\/p>\n

Petit and Matthews raised money for Louis\u2019s much-needed medication through a crowdfunding campaign, for which they created a short video about his condition.<\/span><\/p>\n

Eventually, the topic became a full-length film. It explores both Louis\u2019s childhood memories \u2014 many of which he lost due to his illness \u2014 and cultural memory as seen through the eyes of his filmmaker parents.<\/span><\/p>\n

At the end of the morning discussion, Petit shares that the film he would take with him to a desert island would be <\/span>Gidget Goes Hawaiian<\/span><\/i> (1961), which has also been featured in the Sodankyl\u00e4 Film Festival program. Petit adds that he doesn\u2019t take \u201cgreatest films of all time\u201d lists too seriously.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"The first film that director and writer Chris Petit remembers seeing was the musical Hans Christian Andersen (1952). He recalls wanting to leave halfway through because, as a child, he didn\u2019t like the lead actor, Danny Kaye. Petit began his career as an ad salesman for the London-based cultural magazine Time Out, eventually progressing to… View Article<\/a>","protected":false},"author":15,"featured_media":29982,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[114],"tags":[],"class_list":["post-29984","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-morning-discussion"],"acf":[],"yoast_head":"\n14.6. Morning Discussion with Chris Petit — Midnight Sun Film Festival<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/msfilmfestival.fi\/en\/14-6-aamukeskustelussa-chris-petit\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"14.6. 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