We had a production meeting this morning, which was good. I've been concerned about some areas in the production, but I'm now more confident about where everyone is up to. There are still a few minor things that need to be sourced, but in general, it is all coming together. Michael has done a great job getting us to this point and I'm sure he'll get us over the line.
Ben Khaw and I stayed behind after the meeting to chat about Chomatsu and do a little rehearsal. It was really beneficial, because we made a few new discoveries about him and I was able to get my vision of Chomatsu across to Ben. Working with Actors is my favourite part of the process, finding the character, tracking their journey and bringing them to life is a most rewarding experience.
Three days to go and there is a little weather concern for Thursday, but there is nothing we can do now. Fingers crossed!
Saturday, October 31, 2009
Anyway...
No money, no worries! One has to ask, why do it?? Why put yourself through the stress of making a film with no money, not just any film, a period film!
It must link back to the underlying urge to create, to make films and to express yourself. Kanowna developed from the seed of an idea and then from a wonderful life changing experience. It took a number of false start journeys, with a number of people who promised much and delivered little.
Now, we are only days away from actually shooting this film. Wow! It is amazing how things transpire. The core mix of people involved has always remained the same, but we've added a few excellent people who have helped get us to this point.
We've made many discoveries about making period films along the way and we will remember those lessons next time. For the moment however, I am extremely excited, somewhat nervous, but prepared and ready to make a great little film.
It must link back to the underlying urge to create, to make films and to express yourself. Kanowna developed from the seed of an idea and then from a wonderful life changing experience. It took a number of false start journeys, with a number of people who promised much and delivered little.
Now, we are only days away from actually shooting this film. Wow! It is amazing how things transpire. The core mix of people involved has always remained the same, but we've added a few excellent people who have helped get us to this point.
We've made many discoveries about making period films along the way and we will remember those lessons next time. For the moment however, I am extremely excited, somewhat nervous, but prepared and ready to make a great little film.
Our collar pallet
The is the colour range we are using for the film. It is provided by the DOP after discussions with me and it should serve as a guide to all departments for their colour choices in regards to props, material, painting etc...
Friday, October 30, 2009
La la land
Time is ticking and I am a little worried. We begin shooting this film on Thursday and there are some crucial things not yet in place.
The uniforms for the two Troopers is my biggest concern, in fact all the costumes are my biggest concern. I haven't seen anything solid and confirmed yet, which makes me nervous.
Michael is still trying to lock down a Lee-Enfield Mk1, fingers crossed on that one. I have just sent out a draft shotlist to Aaron our 1st AD, Michael, the Producer and Dev, the DOP. It is less that initially discussed, which helps our schedule a little.
I still have much Director's preparation to do, but am really looking forward to getting into rehearsals on Wednesday.
On a good note, a Sound Editor friend of mine living in LA, today offered to do the sound for the film! Great news, it means fantastic sound and also immediate exposure to people in LA. Which makes it even more important to get everything right!
The uniforms for the two Troopers is my biggest concern, in fact all the costumes are my biggest concern. I haven't seen anything solid and confirmed yet, which makes me nervous.
Michael is still trying to lock down a Lee-Enfield Mk1, fingers crossed on that one. I have just sent out a draft shotlist to Aaron our 1st AD, Michael, the Producer and Dev, the DOP. It is less that initially discussed, which helps our schedule a little.
I still have much Director's preparation to do, but am really looking forward to getting into rehearsals on Wednesday.
On a good note, a Sound Editor friend of mine living in LA, today offered to do the sound for the film! Great news, it means fantastic sound and also immediate exposure to people in LA. Which makes it even more important to get everything right!
Thursday, October 29, 2009
Influences on Kanowna the short film
The more I delve into it and the more I am asked by Key crew members. I am finding my influences can be identified in specific films. The assassination of Jesse James, by the coward Robert Ford is becoming a big influence for Dev and myself. The composition, use of shallow depth of field, lingering lyrical shots, steady pacing and superb acting, is influencing our choices on Kanowna.
That said, Terrence Malick is also a strong influence on me. I love the way he uses nature and once again, the lyrical nature of his shots are fantastic. Finally I think Kurosawa also finds a place in this post. We will search for the wideshot and fight the contemporary western cinema's desire to cut to a close-up everytime, to emphasis a story point and ram it down an audience's throat. The power of the wideshot is often ignored and in this film, where the land is part of the story, it cannot be ignored.
I am also keen to use time-lapse for the landscape exteriors, signifying the passing of time and how the land never changes, or care what is happening in the realm of humans. The land stays the same.
That said, Terrence Malick is also a strong influence on me. I love the way he uses nature and once again, the lyrical nature of his shots are fantastic. Finally I think Kurosawa also finds a place in this post. We will search for the wideshot and fight the contemporary western cinema's desire to cut to a close-up everytime, to emphasis a story point and ram it down an audience's throat. The power of the wideshot is often ignored and in this film, where the land is part of the story, it cannot be ignored.
I am also keen to use time-lapse for the landscape exteriors, signifying the passing of time and how the land never changes, or care what is happening in the realm of humans. The land stays the same.
The cast for Kanowna, the short film
Just to remind everyone who is in Kanowna, the short film.
Dustin Clare is playing Trooper Brown.
Peta Sergeant is playing Osarno.
Ben Khaw is Chomatsu.
Clarke Richards is Trooper Clarke.
We've got a good group of very talented and eager actors. The characters are layered which will give the actors a good challenge to breathe them to life.
Wednesday, October 28, 2009
Oct 28
Time is ticking!
We had our initial meeting with our 1st AD, but with no shotlist yet, it was difficult to get a real picture of how the schedule would look. I ended up giving each scene a possible number of shots, so that Aaron could at least get us something.
There has been some challenges getting period firearms and today we came up with an alternative idea. The only gun which needs to fire is Chomatsu's, so we just get whatever is available. Hopefully a dark metal, snub-nosed revolver. We will never focus on it, so it shouldn't be an issue. Brown's revolver needs to be authentic looking, but doesn't need to be able to fire rounds. So Michael and I will head to the Army surplus stores and look for period revolvers. Another important weapon is the rifle Brown has in the first scene. After a little research we decided it would be good to have a Lee-Enfield Mark 1, no we need to find one.
The DOP and I had our initial discussion tonight and talked about film references. We seem to be on the same page, which is always good. He wants to pitch a sequence idea for me tomorrow. Great, I love it when I'm being presented ideas, that is the best way to get the best from other head-of-department and improve on the vision.
Lots of work to do, not much time to do it!
We had our initial meeting with our 1st AD, but with no shotlist yet, it was difficult to get a real picture of how the schedule would look. I ended up giving each scene a possible number of shots, so that Aaron could at least get us something.
There has been some challenges getting period firearms and today we came up with an alternative idea. The only gun which needs to fire is Chomatsu's, so we just get whatever is available. Hopefully a dark metal, snub-nosed revolver. We will never focus on it, so it shouldn't be an issue. Brown's revolver needs to be authentic looking, but doesn't need to be able to fire rounds. So Michael and I will head to the Army surplus stores and look for period revolvers. Another important weapon is the rifle Brown has in the first scene. After a little research we decided it would be good to have a Lee-Enfield Mark 1, no we need to find one.
The DOP and I had our initial discussion tonight and talked about film references. We seem to be on the same page, which is always good. He wants to pitch a sequence idea for me tomorrow. Great, I love it when I'm being presented ideas, that is the best way to get the best from other head-of-department and improve on the vision.
Lots of work to do, not much time to do it!
Sunday, October 25, 2009
Wide shots
Things are really moving along. Michael and I met with Aaron or 1st AD this afternoon for our first discussion on schedule. I had to give him an idea of the number of shots I am thinking about, which was hard. My head has been in production and not in the creative side of things, so I have to switch over now. Anyway, I came up with a number of around 80 shots, after going through the script scene-by-scene.
What I have to remember is my intention for this film to use wide shots as much as possible, allowing the action to play in the wide. It is influenced by Kurosawa and early Zhang Yimou. It is very powerful when used well and when I wrote this script, that was always in the back of my mind.
What I have to remember is my intention for this film to use wide shots as much as possible, allowing the action to play in the wide. It is influenced by Kurosawa and early Zhang Yimou. It is very powerful when used well and when I wrote this script, that was always in the back of my mind.
Design Meeting
Another meeting today, where I got the meet the Production Designer and the Costume Designer. Both are young and relatively inexperienced, but keen and determined, also TAFE graduates which is always a good measure.
It was good to go through the script and solidify my ideas and seek new meaning and different ideas from these guys. We've only got one weekend left and then we're on!
It was good to go through the script and solidify my ideas and seek new meaning and different ideas from these guys. We've only got one weekend left and then we're on!
Saturday, October 24, 2009
Flights are booked
Things are really flying along now, we've got a 1st AD finally and Dustin, Clarkie, Peta and Kristian are all booked on flights over.
Thursday, October 22, 2009
More Positive
Today was a positive step in the right direction. It looks like we've found an actor to play the lead Japanese character, Chomatsu.
I was sure enough in my mind that the production would now be going ahead, that I contacted Dustin Clare and Clarkie to 'touch base' and see where they were at. Both of them have been working on backgrounds and researching accents. It was great to chat to Dusto again, it's been a long while.
We are close to getting a Costume person attached, but Michael has met our new Production Designer and we do have a Make-up person.
For a production which has no money, we are in a good position to make this happen.
"This has been the hardest thing I've had to do so far, " Michael said to me today.
Yes, a period movie on a tiny budget is a big ask. Even though when I wrote it, I definitely had in mind doing something for a very small budget, the search for detail all adds up.
I was sure enough in my mind that the production would now be going ahead, that I contacted Dustin Clare and Clarkie to 'touch base' and see where they were at. Both of them have been working on backgrounds and researching accents. It was great to chat to Dusto again, it's been a long while.
We are close to getting a Costume person attached, but Michael has met our new Production Designer and we do have a Make-up person.
For a production which has no money, we are in a good position to make this happen.
"This has been the hardest thing I've had to do so far, " Michael said to me today.
Yes, a period movie on a tiny budget is a big ask. Even though when I wrote it, I definitely had in mind doing something for a very small budget, the search for detail all adds up.
Saturday, October 17, 2009
Actor needed
Michael and I lucked on a location in Gidgegannup on Friday. This location could serve us well, fitting in at least three scenes.
We now have a DOP after our initial one had to decline, due to work committments.
Busy, hopeful. We still need Chomatsu!
We now have a DOP after our initial one had to decline, due to work committments.
Busy, hopeful. We still need Chomatsu!
Thursday, October 15, 2009
Let's try to make Kanowna, the short film, again.
After numerous false promises, false starts and lost hope, we are going to attempt to make my short film, Kanowna again. This blog was hijacked for the production of my last TV project attempt, called 'In and Under', but that is now on the backburner and we are a couple weeks away from shooting Kanowna.
Unfortunately this will be another no-budget film. That said, a number of us are banding together and contributing cold, hard cash to make this film a reality. You can't do a no-budget period film, you have to have period costumes, props and other items which are necessary to make the world believable. I did write this film with the view of making it for no money, but the reality is, we do need some.
Once again my good friend and collaborator, Dustin Clare is set to play Trooper Brown, Clarke Richards will be playing Trooper Clarke and Peta Sergeant will be playing Osarno. Other crucial roles are still in the process of being cast and this is a worry, but once again, with no budget we have had to do what we can.
Michael Facey has taken the reigns as Producer and is doing a great job creating everything from nothing. A number of my film friends have jumped onboard to help because of their belief in the project, which I am most greatful for.
The film is set in the 'Outback' and Kanowna is actually a place which is about 40Km's North-east of Kalgoorlie, because of our budget restrictions we've had to find a location close to Perth for our exteriors. Michael and I drove out to Meckering on Sunday and lucked upon an area of saltlake which is perfect for the isolated feel I want to bring to the film. It is now a matter of getting permission to film there and scheduling everything so it works.
I am concerned that we still don't have many of the necessary components in place to start production, but hopefully it will all fall into place in the next few days.
Unfortunately this will be another no-budget film. That said, a number of us are banding together and contributing cold, hard cash to make this film a reality. You can't do a no-budget period film, you have to have period costumes, props and other items which are necessary to make the world believable. I did write this film with the view of making it for no money, but the reality is, we do need some.
Once again my good friend and collaborator, Dustin Clare is set to play Trooper Brown, Clarke Richards will be playing Trooper Clarke and Peta Sergeant will be playing Osarno. Other crucial roles are still in the process of being cast and this is a worry, but once again, with no budget we have had to do what we can.
Michael Facey has taken the reigns as Producer and is doing a great job creating everything from nothing. A number of my film friends have jumped onboard to help because of their belief in the project, which I am most greatful for.
The film is set in the 'Outback' and Kanowna is actually a place which is about 40Km's North-east of Kalgoorlie, because of our budget restrictions we've had to find a location close to Perth for our exteriors. Michael and I drove out to Meckering on Sunday and lucked upon an area of saltlake which is perfect for the isolated feel I want to bring to the film. It is now a matter of getting permission to film there and scheduling everything so it works.
I am concerned that we still don't have many of the necessary components in place to start production, but hopefully it will all fall into place in the next few days.
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