" To project what I had in mind, I knew that I would need images of colour, culture, lifestyles, diversity, the human condition in all its many forms, together with a broad look at the world's environment in equal measure.
This meant contacting countries all around the globe.
I wanted to include as much footage as possible of humanity and the world. Everything from the sky to the sea, under the sea, and everything in between, as well as scenes of war.
In making No Chance to Paint the Canvas, I reached out far and wide, including China and India. I gave a brief outline of my plans to take this work to the world and included the poem and a description of the type of footage I was looking for.
No Chance to Paint the Canvas generated a huge spirit of cooperation, generosity,and goodwill. The response was overwhelming: A total of 28 hours of footage and
stills was finally received from around the world. After weeks of long hours of work, I reduced it down to 6 hours. I then began the labour intensive process of film making.
Deeply committed to it, I enjoyed the creative process immensely. The need for skill, precision, and attention to detail grew with the film, as I applied a sifting-for-gold work ethic.
There was a moment in the production, when I felt the film take on its own heart and give me back mine. It was as if it was saying “you can relax now, I've got it.” The film will always have
a piece of my heart in it.
Work continued as all the elements came together beautifully, and the film became its own unique work of art. This took me to the first week of September 2001. I then booked into a digital media company to have it transferred to digital video. Over several appointments, I sat in with the technicians to ensure that everything was as I had designed it. And that the speed,
timing and other technicalities married up with mine. The same applied to my graphic designs. I was pleased with the overall team effort, we built up a good rapport, and the film was completed in December 2001.
With no formal training in film making, I had made the world's first ever film about civil society on a global scale.
I have encrusted the film with dazzling jewels of humanity and the environment worldwide, in my endeavours to reach you. So whether you are a major construction worker on the Three
Gorges Dam Project in China, or modelling beautiful silks in Rome; a deep sea diver or a sparkling bride and groom from India; a celebrity or someone clearing up rubble in a war zone. An ecologist from Italy or stunningly dressed Chinese dancers who can neither hear or speak, yet have perfected their steps, timing, and precision from the vibrations of their feet touching the floor. A small example of the images, from the huge representation of humanity and the world which I have depicted in this film.
Whoever you are, wherever you are, whatever your background or profession, No Chance to Paint the Canvas has been made for you. "
- By Professor Liz Greenwell, 2011.