Archive for the ‘Filmmaking’ Category

Mar 16

Fine Art and Filmmaking

Posted by edwin in Filmmaking


I’m tandem teaching an art class at Curtin Uni. Well, teaching probably isn’t the right word. Experiencing might be better. Each mini lesson I get to do what the students are doing. It’s
called Multimedia design 175 – Theory and Practice. A loosening up class designed for people who think they can’t draw.

Each week we do a different, really cool thing. Like the objects above. I drew these by feeling what was in a brown paper bag without actually seeing. Which was the point. I was quite surprised at how the drawings came out. In retrospect, it kind of confused me. We can see things without using our eyes.

Filmmaking – The infamous and oft-ignored Axis of Action

I was ranting the other day – as usual. There was an old movie on Channel 31 which was really bugging me. The camera kept flipping around the room. One moment we were high angle POV (point of view) the next low. It was jarring.

But I noticed that it was still irritating even if the camera was only a few inches below eye-level – or just a few inches above. For one thing, the eyelines were totally stuffed on shot / reverse shots.


We have this thing in filmmaking called the axis of action. Not many people seem to know about it. If you’re shooting a football team, then you expect the blue players and the red players to be heading screen right and screen left respectively. It gives us a sense of where the goal is. Shoot over the axis line and suddenly, reds are heading for an own goal.

Well, what I noticed with the 30s film is that the axis of action also works in 3D space. If you shoot 6 inches above your main character’s eyeline and then alter the height of the tripod, you get the same jarring effect.

In other words, readers, getting your eyelines wrong could jerk your viewers out of your story.

“Yeah, yeah – but what if I want to jar people. I mean they used dutch tilts in East of Eden, didn’t they? I’m a really cool filmmaker and I want to break every rule, Maan!”

All I can say to that argument is . . . Shut up and have alook at the Rorschach blots we did in class.

Gingerbread Men? Or should I say people.


Insect?
Timid rabbits approaching each other?
Not sure . . . Plus 2 koala bears. Ahhh!


I ride a bicycle and this is what I see. When you ride a bicycle (as opposed to driving a car) the world changes. Your approach to life changes. My approach to filmmaking changes. The body becomes a metaphor, the road – life – each hill an obstacle.


You are using your own power. You are thousands of years of human technology. You are losing fat, strengthening your muscles, heart, lungs, entire physical wellbeing.Problems dissolve. You de-stress.

Coffee at Just Espresso, Como

Coffee on the other hand freaks me out! It makes me anxious and very often I return home and do everything but work.

I was having coffee with a friend (Rob) this morning and we were talking about our work lives. Comparatively, we are extremely lucky. We work when we want and do what we want. We’re not answerable to anyone because we have clients – not bosses.

Most people my age are paying mortgages and raising children – in jobs they don’t particularly love. I don’t feel the urge to do that and I’m not sure why. It seems . . . like a waste of time.

Why do you have children? Please. I’m not being facetious. Someone . . . leave a comment. Why did you choose to have kids? Was it a maternal drive? Is there such thing as a paternal drive? Is it the desire for immortality?

I’m doing frivolous stuff. Making short films, animations, websites and, hopefully, long films very soon. Doing whatever it is I love and making a living out of it.

Most people find their sense of self in the pursuit of the dollar. No money = insecurity for most people, it seems. Maybe you want what you have. Maybe you are happy.

Are you the happiest you could possibly be at this precise moment in time?

Please. Answer. Be anonymous.

I know that I am very happy – and free – to be able to ride – in any direction I want and with the choice of doing what I love. Make films, animation, write, construct websites. Most of that freedom is probably because I don’t have kids. My will is my own.

As I rode my bike home the other day, I became excited. I was really keen to get back to my computer and code up the Bollinger website (nothing there, yet). It’s a challenge – a new kind of code. I have to fit in with a highly customised template. It’s nothing but a techno-nerd computer gig to most people. But I’m very keen to make my new template work.


Marx and Venus

When I get time, I write. I’m angling for a gig on Marx & Venus (SBS TV series) and I’m writing stuff with other writers. If our script is chosen, writers get $2,000. I suspect that there will also be about 2,000 entries.

Another filmmaker Lotto.

I’ll let you know how things go.

In the meantime, try riding your bicycle to work. See how it affects your perception. I think you’ll be pleasantly surprised.

Finally put up the podcast interview I did with Phil Jeng Kane (from the FTI) a week or so ago on the 9th Mumbai International Film Festival. The sound is a bit thin because I had to remove a slight buzz.

Today I’m teaching 3 classes of students internet studies. I wanted to get these podcasts ready for them so they could see some of the technology working. I was surprised to find that a few friends of mine had no idea what a podcast is and fewer knew the meaning of BLOG!!!

Well, guys, this is about all there is to a BLOG. You’re reading it. It’s an online, public diary.

In response to Phil’s comment . . .

Yes, I know filmmaking is a team sport. 100 people worked on A Stone Throw (AST). Without them, or yourself, there would be nothing. Obviously. The writer, producer and sound designer overpowered me with an idea and I went with it. It’s possible that 50 people may have approached me after the film with, “What were they saying in that long shot?”

My last post came over as a bit of an I told youse all so and I apologise for that.

What I might insist on the next time we make a film is some kind of test screening. Very few people were allowed to see that film as it was getting made and I don’t like to work that way. I like to involve everyone in the final stages because my eyes are so polluted by familiar images durnig picture editing.

A huge test screening will probably iron out any future problems. And a day of pick ups!

Three days to shoot 11 minutes with relocation moves of (sometimes) 30kms and such a huge crew was nuts!

AST is only 70% there as far as I’m concerned.

We got 96% of the script right and I achieved about 70% of my intended direction.

The AST shoot was more rushed than when I did an episode of Streetsmartz!

Yawn. It’s 6am. Maggies are warbling. Crows are cawing.

There was one thing that came back to me from several people. It’s been bugging me all night. The same critique. And it has to do with thinking that the audience are dumb.

For those of you who know the film, I’m talking about the scene where Cassidy confesses his crime to his Mum. Several people at the premiere, including one twelve year old boy, asked me why we got to hear the dialogue between Cassidy and Tess as he confesses his crime. They felt it interrupted the story and hindered their connection with the film (my interpretation).

On the shoot day, Joshua Beechey was a bit nervous about Anna Brockway playing Tess – his mum. So I went with that. I got Joshua (Cassidy) to retell most of the story to her and finally confess based on what he remembered of the script. She would hug him and it would look awkward. It did. To actually hear this bit of dialogue was always going to be a bit iffy for me – but more importantly – we already know all this story information, and so the dialogue is completely unecessary. Jonathan Mustard’s music is enough to take us through that one minute scene.

So, for those who came back with that thought. You are right. It was my original plan, but the producer, writer and sound designer were nervous about that choice. They thought the story needed wrapping up. I guess I couldn’t convince them (or they convinced me).

In heinsight, I’ll really fight for such choices – instead of making my films for a supposedly dumb audience. Instincts are never wrong.

Feb 27

Australian Premiere A Stone Throw

Posted by edwin in Filmmaking

The screening of A Stone Throw went well, I’m pleased to report. Really smoothly. We had 100 invitees and maybe the same number who came to see “Little Fish”. Mum did the tickets and Dad opened the beer and wines – and helped me with the Coles platters.


Mostly, everyone liked the film.

The kids who were in it loved it (of course) and I was happy to see the odd tear being shed by one or two of the adult actors. How weird is that? They’re obviously over the idea of seeing themselves onscreen. I don’t think I’d have the objectivity if I was an actor – to actually enjoy the film I was in. Maybe only the best actors were crying – as self-consciousness and narcissism are the enemies of good performance (according to Stanislavski) . . .

To me, the film looked good. It still feels a bit like a series of cuts, sounds and images, but it went over well. I didn’t notice many of the mistakes and all had a great time. Sort of.

Hosts never have much fun at parties.

Next stop, Marx & Venus. I hope you all know about that one. 25 x 5 minute TV shows about a couple of flatmates who kind of like each other, but don’t get together. I’d love to direct an episode or two and I’m writing three on spec.

I think there’ll be thousands of scripts sent in. I estimate around 2,000. Here we go again . . .

OK. I’ve made about 100 phone calls. Nobody RSVPs these days, so I figured I’d save catering money by actually calling people. So far, about 120 people – cast, crew and associates – are coming to the premiere. We’re having it at FTI’s Fremantle Outdoor Film Festival.

We have a beer sponsor:
Advance Multimedia and Animation

in association with
Cave Pictures
.

Micro-brewery beer. No preservatives.

I’d link to Cave, but they don’t have a website just yet (I know because I’m doing it).

Should be fun.

Around 300 stubbies. 2 varieties. Red & white wine. 5 Coles platters and my mum and dad doing beer, wine and door entry.

I’m pretty nervous, but also looking forward to it. To the feedback. To the negative feedback in particular. I’m a bit over claps and kisses. We filmmakers need to accept criticism. If we’re to move forward. I welcome it in constructive form. There’s nothing more useless than, “That was a great film.” But you gotta be polite. Smile. Thank you.

For those who aren’t on the VIP list, you can still see A Stone Throw. But you’ll have to pay. It’s accompanying Rowan Woods’ pretty cool Aussie flick, Little Fish starring Cate Blanchett. There are light refreshments, it’s under the stars, the atmosphere is great.

Venue: FTI Outdoor Cinema, 92 Adelaide St, Fremantle WA
Time: 7.35pm, Friday 24th Feb

Hope you can make it.

Gotta get off the net and call my Mum to organise ice. See you there, Cats.


Hello. I’m back in Perth.

The 9th Mumbai International Film Festival 2006 is very over, but it will return in 2008 (they hold it bi-annually) and Bombay still exists in my head. A Stone Throw didn’t win anything, but will be premiered here in Fremantle, this Friday 24th at the FTI’s Fremantle Outdoor Film Festival. 7.30pm screening followed by Little Fish and 6.30pm for crew drinks.

So why is this BLOG entry entitled, Mumbai Madness?

Mumbai (Bombay) Madness:

After getting off the plane, I developed an annoying cough. My girl told me I smelt like human faeces and refused to kiss me until I showered and bathed for at least 2 days.

When I finally got back to my (home office) desk, there was a pile of work waiting for me.

  1. Hours and hours of tutoring Usability and Web I.T. at Curtin University
  2. Making 2 x short films with tweenies and teenagers at The Filmbites Film School
  3. Several websites to do (at least 3) and
  4. A whole host of film-related projects that I’m not at liberty to talk about right now . . . . . . . . . . . . . . :| . . . . okay, maybe later.

Perhaps getting off a plane from an exotic, faraway country is doing it to me – or maybe it’s the unknown, bird-flu like cough that I have developed . . . But I feel different.

Re-energized.

Lighter.

More powerful . . .

. . . and generally more serious and more committed to my work than I’ve ever felt before.

Now that the party is over, I think it is obvious. I have stuff to say.

Aside: I’ve been told to read Shantaram- the story based on the life of Gregory David Roberts – Sydney’s gentleman bank robber who escapes over the front wall of Victoria’s maximum security prison and then travels on a false passport out of New Zealand to Mumbai – where he lives with the poor people in a shanty town and becomes the community doctor, counterfeiter, smuggler and gunrunner! Did Greg catch the madness, too.

I think I’ve caught a creative sort of madness. I can feel a film (or two) coming on. Beware the Stingray perhaps?

Hallie (the girl who runs Filmbites – my regular Saturday teaching job) has edited a short film I shot (no script) with a bunch of tweenies just days before I went away and it’s fantastic! . . . I reckon. I’m about to ask her to put another 50 hours editing into it. We have to clear music etc. Redo credits . . . All shot on a single chip camera with the letterbox function on (thereby reducing image quality). Camera sound, for God’s sake! With wind-buffetting. Real off-the-hip. The acting is incredible. We’re going to submit it to the Sydney and Melbourne Film Festivals. Plus St. Kilda. See if they take it. It’s that good.

I reckon.

But that’s all that matters, filmmakers. Right? You have to like the stuff you do. Who cares if it doesn’t pick up awards? That part of the process is almost random – and if it’s not – it usually means the film is a 3 act joke film – not necessarily an indicator of feature-style filmmaking (a whole different kettle of fish). Juries with mandates and opinions and allegiances and friends make award decisions. An award might fast-track you to being considered for a feature – as does a stint at the Australian Film, Television and Radio School (AFTRS) but the film remains the same.

If you like it, you’ve succeeded! Surely!

My madness has recently been fuelled by two long macchiatos with sugar and a bowl of fruit salad – so bear with me.

Maybe travel does broaden the mind. My mind feels very broad right now and I have all this energy which I want to put into my work. Better cash in on it. Such waves rarely come by.

Maybe the great Shiva has entered my soul? Or Kali? Or is it Mumbai’s very own Ganesh?

All my work.

  1. Websites
  2. Filmmaking
  3. Writing
  4. Teaching
  5. Everything

It’s all about to explode. When it does, I’ll let you know how it goes.

But I feel . . . . . . VERY . . . . . . light!

It’s . . . as Milan Kundera once uttered – albeit very self-consciously . . . . . . . unbearable.

Unfortunately, A Stone Throw didn’t win anything . . . *sniff* :(

Most of the international films that won prizes at the Mumbai International Film Festival 2006 had India as the subject / backdrop – or they were made by ex-pat Indians living abroad – or they had an Indian actor – or they were films made by filmmakers who had served on previous years’ MIFF judging panels.

I’m not being too cynical. That is just the way these things go. I’d be naive to think differently. In fact, I was surprised that our little 10 minute film, A Stone Throw had been included at all. It was one of only a few non-Indian inspired films.

Having said that, a ScreenWest-funded documentary about the rebel army in Aceh won the judges hearts.

The Black Road, directed by William Nessen and produced by Andrew Ogilvie, was absolutely brilliant and easily deserved to win. In fact, William risked his life making the film. He filmed alongside the Indonesian army as they attacked Aceh – and he also filmed alongside the Aceh rebels! I’m talking gun to gun stuff. Torture stuff. There were no holes barred making this film. It’s not for the squeamish. People get killed and tortured and you see the results. Big, graphical, close-ups!

William witnesses the death of some close friends, marrie sthe film’s interpreter and ends up in jail (as one would expect). All these events filmed prior to the great Tsunami.

After watching the film, one might conclude that William Nessen has a death wish.

But Billy (his chosen nickname) considers himself an accidental documentary filmmaker. His main line of work is as a journalist / photographer. This is his first film and it began with him simply recording events in his life. It transmogrified into something brilliant – and very important for the world stage.

It was good to see a ScreenWest-funded film getting not one but two important awards. The Best Documentary awards were strictly for the directors, but Andrew Ogilvie also got an award for producing Billy’s film. It was edited by Lawrence Silvestrin and sound-posted by the (locally) famous Western Australian, Ric Curtin.

Bloody good stuff.

While the chosen few basked in the glory of cash (up to AUS$7,000 1st prize) media scrutiny and some very impressive gold and silver conch statues, I slunk back to the hotel. My 10 minute short looked pretty good up there and the audience thought it was a wonderful part of a greater piece. A Stone Throw gave the winners a run for their money. I satisfied myself with that knowledge.

I stayed in my pokey hotel room the entire next day. Enthused by the renegade documentary makers, I feverishly returned to working on my next project. I’d managed to dodge disease, not get too-ripped off and I still had my passport. That counted for something.

When all had returned to their respective countries, I got a phone call. It was William – at a loose end. He shouted (bought) me breakfast and talked about staying in Mumbai.

Why? I asked. There’s no rebel army fighting for independence here.

He simply likes the place. The people. The hospitality. Billy strikes me as a kind guy with a big heart. I tended to ignore the many beggars here, but he happily gave them a few rupees. One poor beggar-lady told him, I don’t want your money – only food. Half an hour later, Billy was lugging sacks of rice and water around for her immediate family.

Not having a background in filmmaking, he asked me for career advice. I felt humbled. And, the truth be told – a bit important. Keep your prize money. Don’t give it away. Invest it in the film – in yourself, I pleaded.

I’d rather see William go out there and change the whole world with his particular brand of risky filmmaking than see one small family eat for a week. His kind of filmmaking can change the world.

The Mumbai Film festival had inspired me. Perhaps I can also do something worthwhile. Seeing films like The Black Road makes me do a double-take on my own stuff. I’ve only just started to make worthwhile films – films that touch other people. Hopefully, A Stone Throw is only the first step toward this and I’ll get the chance to go a lot further.

It all starts with a piece of paper and a pen. I’m sincerely looking forward to seeing what filmmakers like Billy Nessen does with his pen.

See y’all back in Perth for my Mumbai International Film Festival (MIFF) podcast.

I met the lady who coined the term, Bollywood. Janet Fine is a freelance journalist for magazines like Variety and the Hollywood Reporter. After living 20+ years in Mumbai, I think Aussies make some kind of sense to her.

She invited us all to a strange, glitzy party – hosted by a famous Italian chef.

No place in Mumbai is particularly impressive, so when I got out of the car and stepped into a muddy, dirty roadway, I was surprised. We were on the doorstep of the famous downtown Bollywood restaurant, Olive.

Photographers and videographers pumped flashes and lights at model-like actors. Watching the Bollywood films which play every night on TV here (there are literally thousands of them) shows just how skilled these people are. They’re not using Stanislavski, Adler or Meisner – they are more like expert dancers with fantastic co-ordination and lip-synching skills. It’s a different style of acting. They are more than simply models.

I recognised nobody and ordered a Tom Collins. Fellow Aussies thought me a seasoned drinker, but I’d only read about the big Tom in a cocktail book. It wasn’t great. But I can say I had my last one at a Bollywood party.

When actors so much as moved, lights would flash.

It was all very silly.

But the silliest thing by far . . . was the bathroom.

Toilets here are crazy. At one hotel, I turned around and a uniformed guy was standing there. He switched the tap on for me. He even squeezed out some soap as I approached the wash basin and then he issued me a stream of several, palm-sized towellettes for me to dry my hands on.

The Bollywood toilet was even crazier. There was the usual toilet guy standing there to show me the way to the urinal (2 metres away) but the funniest thing was a baby-sized block of ice, sprinkled with flowers – sitting right there in the urinal. I rarely laugh when I’m alone, but this thing really tickled my funny-bone. The only purpose I could think of was to cool my urine before it became an integral and perhaps spiritual part of the great Ganges.

It was an interesting night.

When an Australian actress heard that Aussies were there, she mysteriously disappeared. Out the back door, I suspect. I caught her eye and I’m sure something passed between us. Something not so good. Something nervous – awkward. A mixture of embarrassment and indignation. Being a big star in Bollywood – a film society pretty much run by India’s mafia – isn’t considered to be a serious career move. Down to earth Aussie filmmakers might have seemed a bit daunting. If the bepetalled ice-block in the urinal was anything to go by, I might have snuck out the back door, too.

The following night, I went to a nightclub with my new Indian friends, Somdev Chatterjee and Rajdeep Randhawa – two filmmakers with excellent documentaries screening at the Mumbai Film Festival. It took us a few tries to get into places.

No stags, sorry, no stags! doormen kept repeating.

In India, men aren’t allowed into a nightclub without being accompanied by a woman. Apparently women get hit on quite a lot here. How do men meet women in Bombay? I asked my friends. They shrugged.

The sexual divide in India is an infinite chasm – as evidenced by one MIFF film, Hoon I. Pretty much the Indian equivalent to a women’s rights film (made by Amit Babulal Shah). In the film, women were almost daring each other to remove their veils – without seeking permission from their husbands.

You can’t simply meet a woman at a party here and then go to bed (not that you can do that in Australia without cushioning a few good slaps on the way). It’s a huge, six month battle with phone calls, SMSs and coy meetings with parental involvement. It sounds like an absolute nightmare. In India, it pays not to be single.

We finally get into a club (I think because I’m a white guy – which does mean cash to some degree, here) and we sink a couple of Kingfishers (local beer). We took a few photos and made our way to the exit . . .

. . . whereupon the nightclub was stormed by Police!

My friends hid my beer and we all crouched under the stairwell until my friends could get me out of there without being spotted by the cops.

I had no idea what was happening.

I was told later.

The police are really corrupt here and will go into a nightclub at 1am (everything finishes strictly at 1am here – despite Mumbai’s exciting nightlife) to get whatever money they can from . . . white guys! They simply approach the white guy and get cash off him – for no particular reason. If he doesn’t have enough, it could mean a night in a cell.

I once asked my friends if they pay much tax. Of course we do. Apparently about 25%. But there is little evidence of it in Mumbai. People are poor and dying, roads are falling apart and in a city of 20 million people, I rarely saw public works, a nice park, or a rennovated building. It’s as if India has no government.

It may be different in other Indian cities and let’s be fair . . .

How does one govern 20,000,000 people?

t.b.c. . . .

Hi readers . . . and hi Mum! ;)

I’ve been watching some pretty heart-wrenching documentaries here at the Mumbai Film Festival. Watching docos seems to be a fast track to learning about the world. Many documentaries have an Indian element, but a couple stood out. I tend to make friends with the people who make films I like, so I’m pleased to say that Rajdeep Randhawa is now a close and personal friend of mine.

Rajdeep made a 47 minute documentary called, “Ek Tha Lal Pari.” Shot mostly cinema verite, it documents the problematic relationship between a eunuch and her lover. It’s an on and off relationship, but the two are still very much in love and have lived together for 20 years! In India, eunuchs live in enclaves. They are ostricised by society, but also revered and considered to have many spiritual powers. So they earn money by performing special rituals at marriages, births, deaths etc. It is a special honour to be blessed by a eunuch. To cross one would result in bad fortune. In one scene, a ritual blessing is performed by several eunuchs at a married couple’s home. Anyway – I won’t say what happens in the end, but it was an excellent first film.

I also met a British filmmaker who worked in the BBC Documentary Film Unit for 30 years before deciding to settle in India. Holy Men and Fools, documents a journey through the Himalayas with a living Baba (Indian spiritual leader) and his disciples. It’s like a mini-quest, but with interesting characters. He should get a few sales with this, so look out for it.

Y’know, it’s pointless describing films when I’m staying here in Mumbai. The other day I walked into a Chai (Indian tea) shop alone and several guys stood up to let me have the booth. Hot Chai was immediately set down on the table and everybody suddenly became very considerate. I thought, Uh oh – here we go. I’m about to get ripped off. But when I paid for it, the guy asked for 10 rupees – just like he had with everyone else. I left feeling a bit confused. Why all this red carpet treatment? I get stared at a lot. Often I’m the only white guy walking. But it’s not intimidating. Is it curiosity?

I asked my Indian friends. At first I thought it was because white = cash. But it’s much more complicated than that – and it goes right back to the British. Many people in India feel that the government isn’t doing its job properly. It’s a big job, but there are problems with corruption etc. Apparently most Indians (these guys reckon 90% of Indians) feel that India was better when teh British were here. Things ran smoothly – there was organisation, people had a place and there were fewer poor.

White guys are considered to have this extra thing about them. Some people think that they are more intelligent, better educated, wiser and that they have the skills to run things better. More acumen. By treating whites with respect, it is thought that a bit of this extra stuff will rub off on you. As Indians are very religious people, this ties in well.

It’s all about luck, karma and anything is possible here . . .

(to be continued)