For me, making a film is like being on the right side of a massive hill that just keeps going down, it's impossible to stop going further. Game is an experiment in sound and vision, capturing a moment from my past life as Portishead. It was inspired by JG Ballard's Concrete Island, which I found fascinating - this idea of being trapped in a world that doesn't want you.
Initially the film was going to be about rabid dogs - it's a very different vibe - but then we set it in the end of rave culture. The character is a poacher and he's played by Jason Williamson from Sleaford Mods, who turned out to be brilliant in it because his dad used to rabbit hunt. He has this ruggedness that's perfect for the role.
Portishead never got that corporate, big label stuff; we were always on our own terms, which is why I was drawn to capturing the essence of rave culture. There aren't any fluorescent outfits, but ordinary kids in street gear, so I'd think about what kind of trainers they were wearing - something that just looked like normal clothes.
My film doesn't capture every rave scene from the 90s; it's more specific and particular. We wanted to show how things went from free festivals to something a bit more commercialised with the organisation of drugs, and I drew on my own experiences with Portishead and our label Invada Records to get that right.
Our three Bristol albums - Dummy by Portishead, Maxinquaye by Tricky, and Protection by Massive Attack - came out at the same time and changed the game. I'd known all these people before, of course, because we were part of this scene together; it wasn't about competition. There was a wealth of experience, a shared attitude that you didn't need some big label to get your music heard.
There's been no new Portishead music for years now because there's so much more to learn with film and music. We do different things - we did a gig for Ukraine recently and made Roads for Brian Eno's Together For Palestine concert, which got us all together again.
When I set up Invada Records, Myspace was thriving and it was great to discover new music. We had hip-hop beats and put instrumentals on the site and asked people to rap over them; loads of these kids ended up on records next to the artists they respected. It's amazing what can happen when you just put stuff out there.
I'm not grumpy about social media, I'm let down by the music industry. You see so many talented musicians that aren't getting any recognition because they don't have a marketing budget. There are some nasty people in the industry, but for me it's just "this music is crap", which isn't exactly a good look.
My first proper gig was Cameo - amazing superhero alien funk guys from the States, with codpieces and massive hair. My first public performance was at Pontins in Torbay when I was nine years old; my dad took me to see Bambi on a Sunday school trip and then later that year we went to see Blue Thunder. The Clevedon Curzon Cinema still exists now - it's one of the oldest cinemas in the UK and has an amazing history. We're going to screen Game there, which will be really special.
When I listen to music, Contract on the World Love Jam by Public Enemy always makes me feel something; that instrumental track with church bells starts off and then just goes. There are also some Low tracks that give me goose bumps, especially Plastic Cup. As for Quakers album - I don't know any of them who went on to have a music career.
Initially the film was going to be about rabid dogs - it's a very different vibe - but then we set it in the end of rave culture. The character is a poacher and he's played by Jason Williamson from Sleaford Mods, who turned out to be brilliant in it because his dad used to rabbit hunt. He has this ruggedness that's perfect for the role.
Portishead never got that corporate, big label stuff; we were always on our own terms, which is why I was drawn to capturing the essence of rave culture. There aren't any fluorescent outfits, but ordinary kids in street gear, so I'd think about what kind of trainers they were wearing - something that just looked like normal clothes.
My film doesn't capture every rave scene from the 90s; it's more specific and particular. We wanted to show how things went from free festivals to something a bit more commercialised with the organisation of drugs, and I drew on my own experiences with Portishead and our label Invada Records to get that right.
Our three Bristol albums - Dummy by Portishead, Maxinquaye by Tricky, and Protection by Massive Attack - came out at the same time and changed the game. I'd known all these people before, of course, because we were part of this scene together; it wasn't about competition. There was a wealth of experience, a shared attitude that you didn't need some big label to get your music heard.
There's been no new Portishead music for years now because there's so much more to learn with film and music. We do different things - we did a gig for Ukraine recently and made Roads for Brian Eno's Together For Palestine concert, which got us all together again.
When I set up Invada Records, Myspace was thriving and it was great to discover new music. We had hip-hop beats and put instrumentals on the site and asked people to rap over them; loads of these kids ended up on records next to the artists they respected. It's amazing what can happen when you just put stuff out there.
I'm not grumpy about social media, I'm let down by the music industry. You see so many talented musicians that aren't getting any recognition because they don't have a marketing budget. There are some nasty people in the industry, but for me it's just "this music is crap", which isn't exactly a good look.
My first proper gig was Cameo - amazing superhero alien funk guys from the States, with codpieces and massive hair. My first public performance was at Pontins in Torbay when I was nine years old; my dad took me to see Bambi on a Sunday school trip and then later that year we went to see Blue Thunder. The Clevedon Curzon Cinema still exists now - it's one of the oldest cinemas in the UK and has an amazing history. We're going to screen Game there, which will be really special.
When I listen to music, Contract on the World Love Jam by Public Enemy always makes me feel something; that instrumental track with church bells starts off and then just goes. There are also some Low tracks that give me goose bumps, especially Plastic Cup. As for Quakers album - I don't know any of them who went on to have a music career.
game sounds like a cool film, but i gotta ask what's the actual runtime of it? is it like 2 hours or something? and what's with the rave scene being more commercialized, was that really just a product of the times or were there other factors at play? also, didn't some of those Bristol bands kinda get played out after they came out in the 90s? like did maxinquaye ever live up to its hype for everyone but tricki? 
- its wild how the music industry has changed since the 90s when Portishead started out. I mean, no big labels and just putting stuff out there like Invada Records was genius. And now we've got Myspace and all these platforms where new artists can get their foot in. Its interesting to see how those early days influenced future generations of musicians. 
its like they actually took the time to get the vibe right, you know? no fancy special effects or anything, just the raw energy of the rave scene back in the day. and the fact that they're showing it on a super old cinema in clevedon is genius 
i mean who needs some big fancy theater when you can watch a film about your youth on a screen that's been around since before you were born?
. The way it captures the essence of that era without being too glamorized or commercialized is really refreshing. It's also great to see how the filmmaker drew inspiration from his own experiences and relationships in the music industry - I mean, who wouldn't want to create a film with Jason Williamson in it? 
Game is like the ultimate creative high 
and it's crazy how much you can dive into a project before you even realize it 
. I think what draws me in is that Portishead never got tied down by corporate labels, they were always true to themselves 
. That's why I'm loving the idea of capturing the essence of rave culture, no fluorescent outfits needed 
just ordinary kids being themselves 
. The way you brought your own experiences with Invada Records and your albums coming out together at the same time really adds to the authenticity 
.
it's just so superficial. Where's the substance? Can't we just listen to someone's album from start to finish without wanting to share every single detail of our lives on the internet?
think the film Game is kinda like how all these iconic bands came out in the early 90s, we never got the big label cash and deal with it being super underground - which is what made Portishead and Massive Attack so sick. people say its cool when artists are 'independent' but honestly its just code for 'we're not getting paid'. anyway, idk about this rave thing being all nostalgic and sentimental - seems like theyre trying to sell us on a certain vibe rather than really exploring the culture
. It's clear that music was never about competition, but about creating something special together. The film reminded me of why I fell in love with music and rave culture in the first place - it's all about the energy and the community 
we need to bring back that kind of independent spirit in the music industry. 
It's refreshing to see someone taking control of their career like that. And I'm intrigued by the film Game - capturing a moment from their past life sounds really interesting.
I mean what happened to the struggle, you know? Music used to be about something real, about feeling something deep in your bones... now it's just a bunch of people playing instruments and singing into microphones like it's no big deal 
.
, i mean its not just about the music but the whole aesthetic and culture of it all 
, i loved what they said about Invada Records and how it was like a hub for creatives to come together and share their ideas 
, and yeah it sounds like Game is an experiment in sound and vision that really gets into the heart of that moment in time 
...
the film industry's obsession with nostalgia is kinda puzzling... they're always chasing after what worked 20+ years ago, instead of pushing boundaries & creating something new 
, and yeah no corporate label stuff is always the best way to go 
. You gotta put yourself out there, take risks, and believe in yourself (and others) to make it happen. Don't get me wrong, social media can be a wild card, but I think what's missing is genuine connection and community – that's what Invada Records did so well.
. They supported each other, shared their experiences, and created something incredible together. We could all learn from that kind of camaraderie and collaboration in our own lives 
.