Directed by Jack Benjamin Murphy
In a punk dystopian world where it is possible to extract memories, a callous and cold-hearted man involved in the memory industry all of a sudden comes across his own memory. This awakens him to see who he has become and the downward spiral he has undergone since the passing of his wife.
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Jack Murphy was born in Bedford, England in 2000. With a father already in the industry Jack grew up visiting many professional sets. This rooted his desire to follow his father’s footsteps and also work in the film industry. In 2018, after completing his A-levels at Bedford School he took a gap year to work in the industry. His work experience during this year as a daily Set PA inlcuded: Wonder Woman 1984, Star Wars: The Rise of Skywalker and No Time to Die. He also worked as a daily trainee with Special Effects on 1917. Although, knowing he wanted to work in film, his passion for directing didn’t take root until he joined the London Film Academy.
It was during his first film project he understood that directing was what he wanted to do and then he read the script of Show Me the End of Time by Moritz and pitched to the school to have it made as his first film project.
My vision for ‘Show Me the End of Time’ was birthed straight away when I read the script for the very first time. Ignoring the world it is in and the concept of stealing memories, the core story of the film is about dealing with the loss of a loved one. Especially the downward spiral one can fall into. In this case getting mixed up in a world of crime.
I personally connected with the character of Cray. I once knew someone whose grief got them into a drug addiction and it was only once he had met his wife did he change his ways. The power of love can change one’s life drastically. In ways that are good and bad. The memories we share with other people are far more valuable than any materialistic item. For when one dies all that is left is our memory of them.
So, coming back to the film’s story. It is about a man who invades the privacy of others in order to steal from them. One day he is shown his own memory of his not so long dead wife and this wakes him up to see how he went in a downward spiral after her death and that memories are too valuable to give away. The tone of this film changes from being careless for Cray for viewing these violent memories to realising his past and feeling sympathy towards him. My vision for the production design was vintage yet punk and still futuristic.
A cluttered chaos of all 3 in one room. A steampunk/cyberpunk dystopian world. The dark green being the primary colour represents the dark and cold future Cray is steeped in. Whilst the more warm colours and brightness of the memory portray the warmth of the past.