The Brothers Quay, identical twins, make marvellous, mystifying films in which eerie stop-motion puppets outnumber the few live performers. These films might be set in a strange school for servants, or a lecture hall, or a labyrinth, but really they take place in a small desktop universe that runs according to its own alien rules. The brothers hate the idea of having actors voice the puppets and have done so only under duress, once or twice, because it feels so demeaning. Demeaning to the actors? No, they say. To the puppets.
Sanatorium Under the Sign of the Hourglass is just their third feature in a 50-year career, after Institute Benjamenta and The Piano Tuner of Earthquakes. Mostly, they make short animations. They also design for the stage, make music videos and devise site-specific installations such as their Overworlds and Underworlds project in Leeds for the Cultural Olympiad. Film features cost money, take for ever and involve a gaggle of interested parties, which is another word for meddlers. And so they very much doubt they’ll do another. “We’re 77 years old,” they tell me. “No one’s going to fund two old men.”
