IKAITAS

ĮKAITAS


Maria (Įkaitė)

Jauna miestietė mergina. Tipiškas praeivis – skuba po pietų mieste atgal į ofisą. Kartu su drauge tampa aplinkybių auka. Puola į isteriją, siaubingai bijo. Tik praėjus pusei filmo suranda drąsos bandyti pasprukti. Pabėgimui nepavykus užpuolikai ją siaubingai pažemina. Tai ją gerokai palaužia. Ir beveik sunaikina jos norą priešintis užpuolikams. Užpuolikai elgiasi ypatingai prastai ir vulgariai, ypač TRISDEŠIM-DU. Mergina visisškai bejėgė ir niekaip negali pasipriešinti. Išesmės merginos personažas reikalingas tam, kad pailiustruotų nusikaltėlių moralės būseną. Tam, kad atskleitų naujosios-jaunosios kartos nepatyrusiu užpuolikų visišką nesiskaityma su visuomenės normomis, taip netgi atribojant naujuosius nusikaltėlius nuo visuomenės išvis. Kai tuo tarpu senieni, labiau patyrę nusikaltėliai turi kažkokį kodeksą pagal kurį elgiasi ir kažkuria prasme, nors ir pati žemiausia ar bjauri – bet yra visuomenės dalis.

EGLE GRIGALIUNAITE

Eglė Grigaliūnaitė

Gimė 1992 m.  liepos 5 dieną, Palangoje. 2014 m. baigė aktorinio meistriškumo bakalauro studijas Lietuvos muzikos ir teatro akademijoje.

Nacionalinis Kauno Dramos Teatras

 

INDRE JARAITE

Indrė Jaraitė

 

 

Indrė Jaraitė (g. 1980 05 31)

Vilniaus Kamerinis Teatras

 

###

 

SIMA TARVYDAITE

Sima Tarvydaitė

 

Sima Tarvydaitė (g. 1988 12 11)

Vilniaus Kamerinis Teatras

###

 

jurate-budriunaite-61270451

Juratė Budriunaitė

 

 

Jūrtė Budriūnaitė

ŠDT

###

DSC_0139.jpg

Žana Jablonskytė

 

Žana Jablonskytė

(g. 1977 02 15)

Vilniaus Kamerinis Teatras

 

###

50/50

-Jone Dambrauskaite

-Latvenaite Gintare

-Sataite Agne

-Monika Vaiciulyte

-Toma Vaskeviciute

 


DOC (pagr.nusikaltėlis)

Banko plėšikų būrio vadas. Vyriausias ir daugiausiai patirties turintis gaujos narys. Tai yra ne pirmas ir tikrai ne paskutinis jo nusikaltimas. Susiklosčius aplinkybėms gali atimti gyvybę netgi savo gaujos nariui. Moto: Tikslas pateisina priemones. Daktaras gerai supranta rizika ir naudą vykdydamas apiplėšimus. Nusikalstama veikla užsiima, nes supranta ir moka vykdyti ir suplanuoti nusikaltimus. Turi lyderio sugebėjimų, todėl nesunkiai manipuliuoja kitais gaujos nariais. Žino savo vertę, neįrodinėja savo statuso, dažniausiai išlieka šalto proto kritinėse situacijose. Vienintelis trūkumas tai, kad jis neįvertino, kad gali būti dar gudresnis, dar šaltesnių nervų nusikaltėlis negu jis, – kad pasaulis pilnas blogų žmonių. Finale pervertino savo autoritetą.

 

Vaidas_Jocys_MG_1422_2

Vaidas Jocys

 

Vaidas Jocys

1978 01 01

Klaipėdos dramos teatras

###

Rolandas-Dovydaitis

Rolandas Dovydaitis

Gimė 1975 metais Šiauliuose.

Valstybinis Šiauliu Dramos Teatras

###

 

Dainius Svobonas

Dainius Svobanas

 

 

Gimė 1968.

Nacionalinis Kauno Dramos Teatras.

####

 

DAINIUS GAVENONIS.jpg

Dainius Gavenonis

 

Dainius Gavenonis

Gimė 1973m.

LIETUVOS NACIONALINIS DRAMOS TEATRAS

 


 

VAIRUOTOJAS

Vyresnio amžiaus. Iš pažiūros atrodo kaip tipiškas miestietis. Vairuoja neišskirtinį automobilį. Pakankamai atsakingas, nepuola į paniką ar isteriją stresinėje situacijoje. Kartu su savim vežasi VAIKĄ kuris pasak jo serga. Todėl jis, rūpinasi, skuba į ligoninę. Viso filmo metu, kad ir kas atsitiktų nepamiršta patikrinti kaip laikosi vaikas. Tik pačioje filmo pabaigoje paaiškeja, kad vaikas yra pagrobtas, o pagrobėjas yra VAIRUOTOJAS. Tik tada paaiškėja kad už kuklaus vairuotojo veido slepiasi šaltakraujiškas nusikaltėlis. Toks kuris net ir palyginus su DAKTARU yra geresnis planuotojas, manipuliatorius ir pan. Didžioji dalis vairuotojo charakterio atsiskleidžia per dialogus ir atsargias replikas jo pagrobėjams. Per vairuotojo personažą sukuriama paralelė tarp pagrobėjų, kaip jaunosios kartos, nepatyrusių nusikaltėlių ir senosios kartos plėšikų, kurie savo išmonės dėka išgyvena kriminaliniam pasauly, planuoja ir vykdo nusikaltimus.

 

download

VIDAS JAKIMAUSKAS

 

Vidas Jakimauskas

Gimimo data: 1954 02 09

Klaipėdos Dramos Teatras

###

63106_th_adom090406d1

Gintaras Adomaitis

 

Gintaras Adomaitis

Gimė 1959 metais Kaune.

###

Zibuda_06_GBs

Juozas Žibūda

 

Juozas Žibūda

Gimė 1954 m.

Valstybinis Šiauliu Dramos Teatras


32

Vienas iš smogikų. Geriausias BISTURI draugas. Jaunas, nepatyręs – jaunosios kartos nusikaltėlis. Godus. Spontaniškas. Pirma daro po to galvoja. Iš asocialios šeimos, užaugęs Vilijampolės mikro rajone (vileikoj), gatvės vaikas. Mėgsta prabangą, nori ir siekia turto kuo greičiau ir kuo lengviau. Dažniausiai perdaug neatsakingai vertina situaciją, pradeda švęsti ir atsipalaiduoja per anksti. Vulgarus. Pasitaikius galimybei visada užgaulioja ir nepadoriai kabinėjasi prie moterų. Jam moterys yra tik daiktai skirti tenkinti aistrą – nieko daugiau. Jo vulgarumas dažnai pereina net į iškrypimus, tokius kaip pasitenkinimas žiurint į besišlapinančią merginą ir pan. Nedvejodamas gali nužudyti tiek moterį tiek vaiką. Kadangi pats nesugeba ir tikriausiai net nenori planuoti nusikaltimų – pasitiki DAKTARU, iš dalies gerbia jo autoritetą.

 

linas-lukosius5

Linas Lukošius

 

Gimimo data: 1984 10 06

Klaipėdos Dramos Teatras

 

 

Vaidas Marsalka

Vaidas Marsalka

 

Gimė 1986 m. rugsėjo 26 d.

Nacionalinis Kauno dramos teatras

###

oskaro-korsunovo-spektaklio-katedra-pristatymas-50ab583388122

Marius Repšys

 

 

Marius Repšys

Gimė 1984 m. rugsėjo 1 d.

Lietuvos Nacionalinis Dramos Teatras

 

ignas-ciplijauskas_src_1

Ignas Ciplijauskas

Gimė 1979m

Jaunimo Teatras

LUKAS PETRAUSKAS

Lukas Petrauskas

Gimė 1980, Panevėžyje.

Jaunimo Teatras


BISTURI

 

Edvardas_Brazdys_MG_1068.jpg

Edvardas Brazys

 

Edvardas Brazys

Klaipedos Dramos Teatras

###

 

MIKOLAJUS URBONAS

Mikolajus Urbonas

 

 

Mikolajus Urbonas

Gimimo data: 1984 07 26

Vilniaus dramos teatras

###

Jonas-Baranauskas-1-683x1024

Jonas Baranauskas

 

Jonas Baranauskas

Kauno Kamerinis Teatras

Gimė 1989 m.

###

 

MARIUS MEILIUNAS

Marius Meiliunas

 

Aktorius gimė 1990 m.

Nacionalinis Kauno Dramos Teatras

###

GINTAUTAS BEJERIS

Bejeris Gintautas

Gimė 1983 m.

Kauno Dramos Teatras


PAKELEIVĖ

SONY DSC

Alina Leščinskienė (g. 1979 06 01)

Vilniaus kamerinis teatras

###

Sigute

 

Sigute Gaudusyte

Gimimo data: 1981 06 29

###

JARKOVA INGA

Jarkova Inga

Gimė 1989m

Siauliu dramos teatras

###

Donata-Kielaite

Kielaite Donata

Gimė 1985 m. Vilniuje.

Siauliu dramos teatras

###

renata kutinaite

Renata Kutinaite

Gimimo data : 1982

REFLECTION 264MC

P.S. I STOLE YOUR CAR

Making a film requires a lot of effort.  It includes crewing, planning, scheduling, budgeting, casting and that just pre-production. In filmmaking, there are three important elements; pre-production, production, post-production.  Everything starts with research and planning. Scheduling is extremely important if there is a deadline.  Keeping everything on time is a professional sign.

My job was to translate a script (words) into visuals (shots) that will be turned over to an editor to pull together into a film. I was a movie director. There are many different types of directors, some of them are playful like Federico Fellini, some of them are serious, some of them are political like Sergei Eisenstein or really assuming like Woody Allen. Some directors are more technical, they spend most of the time with the crew checking technical aspects, directing actors but more focused on the technical side. Directors like myself put everything into two halves. 50% of the time I spend with the actors, going through the script, talking and directing them. Second half I was collaborating with the technical crew.  This helped me and the crew to find the best solutions in all aspects. Also, actors were the equal part of the team. We always listen to actors opinions, because they had quite a few great ideas.  I think great teamwork was our biggest strength. Great collaboration gave us unique ideas that we did think about it before. I learned, that listening to each other and sharing ideas gives the best results.

 

Inspiration

colours

I did research on the cinematic look I was looking for from the film. I found some videos and images, that inspired me, creating an imagery for the film. This gave me ideas of which colours, costume and locations I wanted for this film. I realised that we need to use “warmer” shades, to give more “western” look for the film.

 

locations

When researching locations I collaborated with the producers to have a look at so they could find the right area for the setting I had in mind. I think collaborating with producers and sharing ideas gave us more options on locations because we all had what to offer. Always working with producers helped me to avoid misunderstandings.

music

I also found some inspirational songs for composers and the crew. Once we’ve completed the production days, we saw that the music that I chose for inspiration doesn’t fit our movie anymore. We found this to be true once our composers followed the inspiration we gave them and we did not like it with the film.

Making it real

When everything was planned I worked with the production designer to discuss clothes. This enabled us to consider a few ideas of how our locations should look like and what the spectrum of colours should be. Pre-planning this helped us to develop the cinematic look of the film. In one scene Sean hits himself and get’s a bruise. The production designer and I discussed this, I showed her how I wanted the bruise to look like. Now, looking back at the shooting day, I feel like we needed to pay more attention to make-up to make it look more realistic. I had a few photos that I will link below how I wanted the bruise to look like, but unfortunately, it didn’t turn out how expected. Maybe next time we need to choose a different technique and different face paint.

I worked with the director of photography and completed the Script Analysis, completing the shots list. We discussed the storyboard and cinematography. Specialising in every detail, trying to imagine the visual look of every shot helped us a lot as. We planned every shot, every camera movement, so it saved us a lot of time on filming days because we were prepared.

Casting

Casting actors was a new experience for me. We had a personal casting for each actor. I asked them to read a part of the script. After that, I gave them situations like “Your girlfriend just divorced you, now read the script with that emotion” or “Someone just ate all of your food”. I did this because I wanted to see how long can actors “keep” the emotion that I asked for. Also, we did some online castings trough “SKYPE”. I asked them to do the exact same thing. I think casting went well because I’m really happy with my actors.

Directing actors

Before starting filming I was feeling stressed about directing actors. I didn’t know them personally, didn’t know what kind of people they were or if was going to be easy to work. Of course, castings helped a lot, but still, it wasn’t enough. I did a lot of research, I watched a lot of videos for tips of directing. “Our stories unfold in time as well as in space, and the ability to use both in service of our stories if of paramount importance. A simplistic view of the use of time in film – but one that contains much storytelling savvy – is that we shorten what is boring and lengthen what is interesting”  During the editing we had to make a few important cuts, just to make everything look on point. Sometimes just a few extra seconds can destroy the whole scene. My motto in directing was “Acting is about reacting” Every action has a reaction. I always told my actors to be in the moment, to listen to each other, not just give me dry lines. I asked them to REACT to each other.  In my opinion, actors did a great job. I think it’s because we understand each other very well. I, personally improved as a director. Now I have more knowledge about how to speak with the actors, how to ask them what you want in the right way. I think good communication is the key to success.

 

 

 

Bibliography:

  1. Dancyger, Ken. Director’s Idea. 1st ed. New York: Focal, 2015. Print.
  2. Weston, Judith. Directing Actors. 1st ed. Studio City, CA: M. Wiese Productions, 2014. Print.
  3. Proferes, Nicholas. Film Directing Fundamentals. 2nd ed. [Place of publication not identified]: Focal, 2015. Print.
  4. In reference to a method of acting, 1924, from Russian actor and director Konstantin Stanislavsky (1863-1938).
  5. “Filmbug Movie Stars”. Filmbug.com. N.p., 2017. Web. 28 Mar. 2017.

 

 

 

Script Analysis

 

 

Even if the scene is pure exposition, the actors (and the director) must play the relationships, the personal, human, emotional event of the scene, not the informations.

Tools:

  1. Facts and Evidence
  2. Questions
  3. Images
  4. What Just Happened
  5. Character’s Spine
  6. Objectives
  7. Beats
  8. Verbs for each beat
  9. Central Emotional Event
  10. Domestic Event
  11. Physical Life
  12. Personal Connections
  13. Vision

(These are brainstorming tools. So don’t filter and carry the idea.)

What are the facts when the scene begins?

How do you know or deduce these facts?


“If a woman comes to your room at 3:00am, pay no attention to any other aspect of the scene.” -David Rabe (screenwriter of “The Firm”)

Make a long list of questions about the characters, their situations, their behavior. The questions are more important than the questions are more important than the answers at this stage.

A helpful way to insure you avoid judging the characters and access our own intuition is to use this trick: With every question you ask your characters, ask them about yourself as well. 


There are three levels of images that are useful for us to see into the characters’ world:

First Level: the images in the text and our free-associations with these images

Second Level: the images of the character’s life implied by the images of the text.

Third Level: the level of artistic metaphor.

batman: how did the story begin? how do they say it’s important?

(It’s the first scene of the movie, dramatic music)


The next three steps require looking at each individual character’s motivations, and can be broken down into three distinct categories: spine, objective, and verb (intention)

SPINE= SCRIPT TROUGH-LINE=WHAT HE/SHE WANTS OUT OF LIFE


The spine is the character’s super objective. This is what he wants out of life, his driving need that pushes him trough all his decisions.

Each character in the story should have a spine because every real human has a spine. Their spine isn’t the Mc Guffin. That is, it isn’t the thing that the text says the character wants.

Two different people can want the same thing, but that doesn’t mean they have the same spine.


The objective is what the character wants or needs in a particular scene. This won’t change throughout the scene.

This won’t change throughout the scene.

The most useful objectives are simple and have a physical goal (wanting the other person to smile or leave the room)

Ask the question, “What do I want the other character to feel.”


CENTRAL EMOTIONAL EVENT

s h o r t f i l m ! blog post 1

What is a short film?

A short film is a cinema format, a film not long enough to be considered as a featured film. According to Academy of Motion Picture Arts and Sciences, a short film “has a running time of 40 minutes or less, including all credits”. However, the best length for a short is at most 10 to 15 minutes. If you want to screen your film at film festivals, best to keep your film short as possible. For some festivals, including Cannes, there is a very clear regulation that no short film can exceed 15 minutes to be considered for the festival. This is how festivals generally schedule films. They put the long ones at first, and then fill the gaps with shorter films.  Of course, if the story is complete, it’s shot really well and all the goals are reached then the length doesn’t matter.

Funding

Usually, short films have a small budget, smaller crew. It means that you need to be very strict with your time and finances. You can always get a funding using websites like “Kickstarter”, “GoFundMe” or “Indiegogo”. A lot of artist gets a funding with a help of these fundraising websites. If you really believe in your idea, just show it to everyone how awesome it is and people will fund you. http://network.bfi.org.uk/funding-finder this web site is really helpful, for new filmmakers with a little or no experience. There is a list of companies that funds “new” filmmakers, helps them to realise their ideas. Also you can get a funding from Film Schools, Production Companies.

unnamed

“The Numbers” is a short film by Robert Hloz and written by Marias Caruso in 2012. “The Numbers” is a love story about extraordinary people. Nick is not like everyone else, he has a special ability to see floating numbers above people’s heads. The numbers signify various quantifiable measurements regarding an individual ranging from how much money they have, how many lies they’ve told, how old somebody is or how many drinks somebody has. Nick doesn’t know much about his ability, he doesn’t know why he has it. One day he meets a girl, Mia, with the same ability. They know nothing about each other and seem to know everything about everyone else. But sometimes the less you know, the better…  However, her ability is much more refined than his and she helps him to better understand his power. “The Numbers” is one of those films that you have to watch it twice to truly understand the full meaning. “The Numbers” won various awards, including Cannes Court Métrage, Golden Anteaters – Masters of Short Form, Dresden Film Fest – Jury Special mention, Show Me Shorts and much more.

“The numbers” was filmed in South Korea, on the street. Depending on props, locations and actors usually short films have a small budget and smaller crew. Even though, funding comes from different types of sources, in order to make the finishing product as good as possible.“The numbers” was funded by two companies: FMK UTB and Hanyang University. This short film had an extremely small budget; just 300000 KRW (215.5 pounds) (estimated). Film demanded a few visual effects (floating numbers above people’s heads).

Even with a very small budget everything was well put together. This film does not need a huge budget, it doesn’t require any specific costumes or locations. In my opinion. It could be shot anywhere because the most important thing in this film is dialogue. For such a low-budget film, 11 people crew is a lot. I think music sound took a huge part in this film, that’s why it had 5 people working with it. Stereo sounds give a mysterious touch to the film. It makes the dialogue sound more vivid.


“THE NUMBER” CREW

Woogun Park – Nick

Heejin Jung – Mia

Robert Hloz – Director, Producer

Colin Lee – Cinematographer

Assistants Director

  1. Joshua Kim
  2. Jay Lee

Editors:

  1. Robert Holz 
  2. Filip Vesely

Sound:

  1. Samuel Jurkovic / sound mixer
  2. Sam Ych  / sound mixer
  3. Joshua Kim
  4. Dahae Noh
  5. Sangheon Ryu

Gaffers:

  1. Jung Jae Han
  2. Joshua Kim
  3. Colin Lee

 

“The Numbers” is a film with really strong dialogue. On the other hand, some people believe that there is no need to say things that you can actually show. “Less is more”. “The Numbers” inverse is “The Big Shave”. In one hand these two films a similar: they have a strong music, one location, not too much action on screen. Both films are small-budged. The difference between these 2 movies is that “The Big Shave” don’t contain any dialogue. Everything is about visuals.

vlcsnap-2015-09-30-21h15m54s501

“The Big Shave” is a six-minutes short film by Martin Scorsese. Martin Scorese is a famous director/producer. He is known for films like “Goodfellas” (director),  “The Wolf of Wall Street” (producer), “Shutter Island” (producer). He started his career by making short films. “The Big shave” was made in 1968. Basically is a story about a guy in a process of shaving, and he cuts himself. A lot.

“The Big Shave” CREW


 

Written, directed, edited by: Martin Scorsese

Cinematographer: Eli F. B

 

Art Direction by:leigh

 

The idea of purity versus violence is emphasised by continuous cutaways to the sink over which the young man stands, The pristine white of the sink is slowly beset with a flood of scarlet red blood. This unnerves us. The violence, the infliction of pain upon himself is mindless and senseless. We cannot, as viewers, possibly comprehend why he’s doing this to himself, but maybe it is on the meaninglessness and the pointlessness of the violence where the meaning and the point of what Scorsese is presenting to us can be located.

This is a current project “The Past as Imagined Future: Multimedia Interpretations of American Intervention in Vietnam.” Lyndon Johnson’s decision to escalate American intervention in the war in Vietnam during the early-mid 1960s is, as they say, a Key Historical Moment. Some context: Scorcese made the film for a planned weeklong anti-Vietnam protest “The Angry Arts Against the War,” though it actually premiered at Jacques Ledoux’s 1968 Festival of Experimental Cinema in Belgium. The young filmmaker was battling depression and at the time had trouble shaving.[1] The Big Shave succinctly voices both the political and the personal.

It is clear that every member of a team holds an important role when it comes to filmmaking. However, as small as a role may don’t measure to how much effort and time comes to their pre-production efforts.

Bibliography:

Thurlow, Max, and Clifford Thurlow. Making Short Films. 1st ed. New York: Bloomsbury, 2012. Print.

Hloz, Robert et al. “Numbers (2012)”. IMDb. N.p., 2017. Web. 26 Mar. 2017.

“In 1967, Martin Scorsese Used Shaving As A Powerful Metaphor For Vietnam”. Slate Magazine. N.p., 2017. Web. 26 Mar. 2017.

“Scorsesefilms – Rating Of Top Martin Scorsese Films”. Scorsesefilms.com. N.p., 2017. Web. 28 Mar. 2017.

Scorsese, Martin, Martin Scorsese, and Peter Bernuth. “The Big Shave (1968)”. IMDb. N.p., 2017. Web. 27 Mar. 2017.

Film, British. “British Council Film: Funding”. Film.britishcouncil.org. N.p., 2017. Web. 27 Mar. 2017.

 

DIRECTOR’S STATEMENT

I believe in love. True love, that takes your breath away and makes you leave everything behind. Unconditional love, when the only thing that matters is just his or her existence. When we do stupid things without even thinking, without regretting. But this love is rare. Extremely rare. It’s like a small diamond in a huge desert. All of us want to find that diamond. It’s in our nature. But sometimes, love can be tricky. It can be one-sided love, big passion can mislead us.

I as a director wanted to show a truly toxic relationship. When silence can be disastrous. I wanted this film to be realistic as possible and relatable for everyone. Sometimes we hide our doubts, instead of looking for a solution. Sometimes we treat our beloved ones with tuff love until they wanna run away.  This story is about complicated love, passion, adrenaline, and karma.

“P.S I Stole Your Car” is a short film, about toxic love. Two wild souls run away for their adventure of life. They determined to live on the road, they leave their home and loved ones. They go trough the country doing scams to get money for living. Peter truly loves Sean, and Sean seems to accept his love and show some back. Deep inside, Sean actually misses his family, his home. He starts to doubt about their relationships and one day everything changes.

“P.S I Stole Your Car” is a  homosexual love drama. Two strong personalities falling in love and leaving everything that they had behind. But how strong is their love? Running away with a person that you don’t know well is a true challenge for relationships.  Peter is older than Sean and he has a different mindset but the passion kept them together. Unfortunately, nothing in this world last forever. Sean is an impulsive personality and he takes decisions very spontaneously. They both have different values and goal is life.  The dissimilar point of view to life is the weakest part of these relationships. When Peter tells Sean about his past something changes between them. Maybe Sean can’t accept Peter as he is, maybe he wants to take KARMA’s work.

Sean is an impulsive personality and he takes decisions very spontaneously. They both have different values and goal is life.  The dissimilar point of view to life is the weakest part of these relationships. When Peter tells Sean about his past something changes between them. Maybe Sean can’t accept Peter as he is, maybe he wants to take KARMA’s work.

We should treat others they way we want to be treated. Every action has a reaction, every choice in life has consequences. Even the smallest one. If the person wants just a personal happiness, he’s being selfish. In this situation, Peter takes Sean away from his home, ignores his thoughts about hometown. He wants Sean because he makes HIM happy. He cares about his personal feelings more thank he cares about Sean happiness. He desperately tries to keep him close, without even knowing that actually, he’s pushing him away.

“P.S I Stole Your Car”  was filmed in a beautiful place of England, called Peak District. This place is famous for mountains, beautiful landscapes, and national park. It was a huge challenge for the crew to film on the peak, but it was absolutely worth it. The visual look of the film is fascinating, exactly what we were seeking for. Cinematographic shots and rhythmic music give a unique look for this love story.  I’m really happy with the final film, and everything is because of the amaizing crew.  I hope that audience will learn something from this movie, maybe even recognize themselves.

Supporting Film / Voor Film

 

575559125

“Supporting Film / Voor Film ” – 11 minutes long short film directed by Douwe Dijkstra – a young movie director from Netherlands. It was created 2015 in Netherlands. Dutch spoken, but with English subtitles.

Producer: Bart Jansen
Music and sounddesign: Rob Peters
Graphic design: Bas Koopmans
Co-producer and distributor: Go Short – International Short Film Festival Nijmegen
Translation: Annemarie van Limpt – goedvertaald.com

From the perspectives of a dozen diverse viewers, this documentary short explores the peculiar ritual of watching film.

How is the medium experienced by people with sensory impairments, strong religious beliefs, or lovesickness? A story about moving images and their audience.

This film was screened in many festivals, and it won many awards.
Best international short – Sleepwalkers International Short Film Festival 2015
Best experimental film – Timishort Film Festival 2015
Audience award – Flatpack Film Festival 2016
Jury award for best short film – Filmfestival Contravision 2016
Nominee Golden Calf best short film – Nederlands Filmfestival 2015
Special mention – Dokufest 2015
Special mention – Message to Man 2015
Special mention – Videomedeja 2015
Special mention cinema jury – Erarta Motion Pictures 2016
Special mention art jury – Erarta Motion Pictures 2016

 

making a relationship

Robert is a very sensitive guy, he’s very kind, a little bit shy, also he has a huge fear of loneliness. His mother left him when he was a child. He’s very emotional but always tries to hide his feelings. His biggest dream is to travel around the world and find a love of his life, find his passion. To feel the real love. He’s a programmer and he has a well-paid job. He thinks he is a loser, but finally, after all, these years he is ready to make a huge change in his life. Finally, he’s brave enough to follow his dreams, to do what he wants to do.
Livia is a beautiful young woman, she’s very confident about herself. Livia is very ambitious but in the same way very selfish, egocentric and fake. She’s a “beauty blogger”, still unpopular but she thinks “it’s gonna be very soon”. She never loved Robert, she always hides him from her friends, doesn’t show him on her video-blogs, because she truly thinks he is boring. Sometimes she’s meeting other guys, but keeping this in secret from Robert. She loves to party and Robert hates it.

Robert and Livia were married for 3 years. They met each through Robert cousin. Robert fair of loneliness made him marry Livia, even though he knew that all she wants is his money. They are like a plus and minus but not in a good way. Robert tried to hide his sadness and loneliness for the past 3 years. But today is the day when Robert is going to say goodbye to Livia. Robert is travelling away, and she’s not going with him. Robert is self-conscious and he knows what he is doing. He’s ready to leave.

MAN RAY | short film

MAN RAY 

/ about /

Man Ray – Emmanuel Radnitzky was a visual artist, who produced major works in all kind of media, but considered himself as a painter above all. He was born in 1890 in Pennsylvania and died 1976 in Paris, at age 86. Man Ray  was influenced by Surrealist, Cubism, and  Dada movements, they persuaded him that the idea motivating a work of art was more important than the work of art itself. He is known for his photographies, paintings, assemblage, collages and films.

Pop Art, Modern Photography, and  Conceptual Art were influenced by Man Ray art pieces. Man Ray was friends with Pablo Picasso, Salvador Dalì, Alfred Stieglitz.

observatory-time-the-lovers

Particularly this painting, which you can see in the picture, was painted in 1936, the same year when a photograph was taken.

man-ray-observatory-time-the-lovers-1936

Painting canvas was eight feet long and over three feet high, we can’t see the picture frame and that creates an illusion of split-screen on a picture. The woman in the picture represents reality and the painting represents fantasy, imaginary things. The Lips relied on a reference central to Surrealist philosophy, the devouring woman.

/ how? why? /

location: for this film, we used diferent 3 locations: dinner room, city and forest. For the first scene in  the home, we needed to set-up the room, prepare dining table. We decided to use soft colours in this shot.The window was our natural light source, it created nice lightening on actors faces. For the second scene, where our actor is walking to her secret place, we chose to use places that have lots of plants, but you can see the transition from forest to the city. The last scene was filmed in the forest. Particularly this forest has a lot of space, tree trunks are rare and they have no leaves. I really wanted our film to be as much minimalistic as possible, so this forest perfectly fitted my vision. I think we chose good locations for our movie.

action: scene starts at the dining table. brother and sister are having a conversation because they just came back from court. Ana is going to jail because she killed a person. During the conversation, she starts to hear the voices in her head. Her brother doesn’t believe her and leaves the house. Voices go more and more intense until she decides to leave the house. She’s having flashbacks from the day she killed the person. She is running to her secret place- forest. When she’s there she cries and tries to fight the voices. But only when she admits that it was her fault voices leaves.

framing: this film was shooted for our Cinematography module, so we paid a lot of attention to framing. For the first scene we used wide shots, we created a lot of space between characters. Same with the second scene. But for the third scene, we used more close-ups of Anas face, trees and forest.

problems: after the first shooting we thought that we lost our footage, because files were converted in a different format. We solved that problem and after that we find out that there was something wrong with the recorder, all the sound was noisy and unclear. Luckaly, camera’s micraphone recorded the sound and it was better than the one from the recorder.

my role: My role was a director of this film. I tried my best to make a film as powerful, entertaining and effective as possible. I was making sure that everyone knows what they are doing, that everything is clear and organised.  I helped a lot with writing a script, also I shot some scenes and helped with editing. I organised the meetings, made a plan and schedule for shootings. I was searching for locations and actors. For this project I’m very satisfied with my group, because  everyone has been very professional and productive. Also our actor was very busy so we had very limited period of time for every scene. But it was very beneficial, because it made us think about the time planning in a professional way.

/ bibliography /

Ray, M. (2016) Man Ray biography, art, and analysis of works. Available at: http://www.theartstory.org/artist-ray-man.htm (Accessed: 21 November 2016).

Tate, M. (no date) Man Ray (1890-1976). Available at: http://www.tate.org.uk/art/artists/man-ray-1563 (Accessed: 2 December 2016).