November 2011

Lights and Camera


I’ve been trying to figure out how best to express the goings on involved in making this film. I thought that recounting the day’s events would be the obvious means of doing so, but I found that it became a “Today we did this, this and this” affair, a form that both the reader and writer would tire of quickly. Instead, what I’ve done is observe and collect little character notes on those who I work with, letting the information build up and settle. It is from this base that I hope to describe life on this crazy shoot, and hopefully describe a coherent picture of a remarkable group of people. I’ve seen what it is that keeps them in a film industry that struggles with budget constraints and work overload. I’ve landed in an environment that is lush with incredible characters; I don’t know whether or not I’ll be able to write about everyone – I don’t often get to interact with all the crew – but I’ll try, and see how far I can succeed. As a result, I’ll start at the easiest place, and let time draw me out of my writing shell.

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The Pictures We Take Don’t Resolve, They Only Reflect

James Stent looks at Film Noir, German Expressionism, and how Wolwedans in die Skemer has taken inspiration from these movements.

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