Now that you have a very brief insight into the area that I have researched for the last twelve months, in the following posts I will now endeavour to take you through the processes that I undergo while producing the film. This will be broken up into three main stages; pre-production, principle photography (the actual filming) and post production. Each of the three stages will be further broken up into smaller categories. Pre production will include the development of a suitable story/script, finding the right location to help build up the world of the story and the casting process. The principle photography stage will be broken up into the five shooting days that are scheduled and will detail the on-set revelations as well as the problems that are encountered. The last stage, the post production will include the editing process, the colour grade, composition of the sound track and the final sound mix.
Unfortunately, my thinking process and methodology is somewhat uncoordinated and not as clear cut or defined as I would like. For example, the choice of story that I settle on first will change when I find the locations. The reasons why I had decided on a story in the first place will also change as I go through the process of making the film. The sound track that I think will be suitable will change at the last minute due to the story that evolves out of the editing. This way of working becomes extremely difficult for collaborators, and finding the right people becomes a vital part of the whole creative process. It is important for me to work with people who are willing to take this journey, as I do, with an organic sensibility, a sense of discovery and an open mind. My belief is that good art is never pre-determined, it grows out of an artist’s intention. In this sense, the process decides what the finished work will be, not necessarily the conscious artist. His or her influence can only come from guiding others – unless of course they are a genius. Which I am certainly not. Either way, unlike most other arts such as painting or sculpturing, the artist is unable to work on his own when embarking on a film project. Film requires many artists working together. Keeping them all on the same page becomes the main concern of the director.
Just to be clear, I am not setting out to make a conventional film that comes with a conventional storyline and conventional coverage (shots and editing). This is something that I have experienced working in television, and an approach I am wanting to challenge. This desire has come about by wanting to give the frustrated artist within a chance to spread his wings and explore his own theories as an artist. Of course this would be so much easier if I was a painter, or visual artist working on my own, but my love for film prevents such luxuries.
The interesting aspect to having a career in the commercial world of film and TV is that I see myself first as a professional and second as an artist. I hope that through further education I can change this around and be an artist first and a professional second. But for the time being, my aim is to blend my love for film and art together. To draw on my knowledge and experience gained from my 25+ years in the industry and inject into my work the ‘spiritual’ power or art.