Annabel Jankel

From the book:
Women On Film: 30 Women Film Makers, by Barry Bliss.

To somewhat crib from Warhol - ‘From A to D and back again.’

In this case - Analogue to Digital, and back again - from 35mm film, to videotape to digital and back to the pencil.

As a young teen, I was equally drawn (there’s that word) to drama, as well as Art. In the UK, unlike the US, it was expected that you would define your thinking about your future profession at 15 years old, with the subjects you would take exams in. I was see-sawing between drama school and art school.
A visit to the Tate to see Francis Bacon’s Popes - was a punch in the gut, and an unequivocal answer to the question; Art school it was to be, and from there - film school. Though at that point, not live action. Animation - a particularly singular art form - was mooted as an option - and though it held me captive for a decade - through the 70s and Punk to the mid 80s - the inevitable but challenging segue from animation to Live action was forged, with Max Headroom.

The beauty of the pencil, is that when you pick it up, you can go any place you care or fear or long or hope - to go, and as Paul Klee said on asked what he was doing … he answered ‘I am taking a line for a walk.”.

Now, going for a walk.