Make Love Not War – Shooting with Cameras

Hello everyone,

So, you may have deduced from our twitter feed (as well as our newsletter.  Did you get one?  What did you think?  Would you like to sign up?  There’s now a handy link just to the left and downwards!), that here at nylon HQ we have been planning our very first short film.

Film has always been a real enjoyment – I can think of nothing better than sitting in a darkened room for a while, escaping reality (or perhaps the rain) and going on an adventure.  Films form such a large part of our popular culture; the large-scale (and, with the internet, immediate) transmission of ideas, throught, stories and processes, seeps into our consciousness and form an instantaneous connection across languages, cultures and time.  Ok, maybe I’m getting a bit carried away with my celluloid excitement, but we are really happy to have the opportunity to work with some really tremendous film makers to create a dance for the screen.

Our collaborators are Electric Copy Film, a great group of guys and gals based in South London, taking on all sorts of film-based projects.  (You can find out more about them here.)  When we first embarked on this journey together (not to make it sound like we’re X-Factor finalists), we discussed what we wanted to achieve with the end result.  With both sides coming from separate standpoints – our concern with the dance, and their concern with the film – we had some great discussions about what we find visually arresting, what inspires us, and what we wanted to try/explore/achieve.  We decided that we really wanted to try and mine the possibilities that film opens up in terms of dance – what can be shown to an audience through the screen process, that we can’t achieve on stage, necessarilly.

This has been an interesting thought for me during our dance rehearsals.  How to ‘choreograph’ for screen?  Things which seem so concrete when thinking about a proscenium stage performance suddenly loses meaning when thinking about film.  In some ways the possibilities are endless – in terms of framing, lines of vision, points of view, location, soundtrack…I have found myself thinking a lot about details (surprisingly, even more than normal) and the micro of the dancers’ performances, both physically and emotionally.  How much projection is needed?  When does performance or presence turn into ‘bad’ acting?  How can we maintain the illusion of being natural when we are caught in a very highly constructed performance?  Will this make the same meaning on screen as it does in the studio?  There is a lot to think about!

We are planning to shoot around the first weekend of March…keep checking here for updates on rehearsals, prgress and filming!

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