Keith Lock’s high school film, "Flights of Frenzy", won the Best Super 8 award at the UNESCO 10th Muse International, Amsterdam,1969. His experimental feature, "Everything Everywhere Again Alive", 1975, screened in TIFF's Retrospective of Canadian Cinema,1984, "A Brighter Moon", was nominated for a Gemini Award for Best Short Drama,1987, "The Road Chosen: The Lem Wong Story", received the NFB Innoversity Conference Award, 2002, "The Dreaming House", 2005, received Best GTA Filmmaker Award at the Toronto Reel Asian International Film Festival. More recently, he created "The Secret", 2017, a 360 Virtual Reality prototype for the NFB. Keith was cinematographer for Michael Snow’s, “Both Sides of the Story”, voted one of TIFF’s 150 Essential Works of Canadian cinema, 2017. Currently he is in development with a new feature film, “All the Stars We Can Not See”.
Why did you get involved in this project?
I’ve known Midi Onodera for a number of years and have a lot of respect for her work and her approach to filmmaking. The strange conditions of the Covid-19 lockdown made the prospect of working online with other filmmakers very attractive. Also I found the relationship of this project to the surrealists very interesting.
Did the one week turn-around for the work help or hinder your creativity?
It was a good formal structure. Just do it and get it out there. Don’t fuss or seek perfection.
How did you feel about working on a project where you didn’t know who you were collaborating with?
I found it an intriguing working premise.
Has being involved in the project changed your thoughts on creativity?
I like the collective feeling that the work is bigger than any individual contribution.
If you worked on several videos, what kept you coming back for more and how many did you do?
I worked on three videos because for me they filled a need to do something immediately creative and to work directly in a variety of media, and other artists.