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When tragedy strikes a small coastal town, those effected must decide to either pick up the pieces and confront their own misgivings or allow the cycle to continue. Duration: 16 Minutes // Format: HD 1.85:1 Director : Ryan A. Murphy Writer: Nicholas Denton Cinematographer: Thom Neal Editor: Patrick McCabe Production Company: Patch Adams Productions (c) SCREENINGS: Flickerfest International Film Festival (Sydney, AUS 2017) St Kilda Film Festival (Melbourne, AUS 2017) Oaxaca Film Festival (Oaxaca, MEXICO 2017) Cast NICHOLAS DENTON EVA SEYMOUR KAARIN FAIRFAX NEIL PIGOT JULIE NIHILL RYAN A. MURPHY ARIELLE THOMAS CHARLES BURTHOUD Stan Yarramunua ... executive producer Music by George Farrar Ollie Whitehead ... co-composer (as Oliver Whitehead) Production Design by Celeste Veldze Makeup Department Jessica Molyneux ... makeup artist Gabrielle Ophelia ... key makeup artist Second Unit Director or Assistant Director Ebony Pereyra ... first assistant director Sound Department Alex Wakefield ... sound designer / sound recordist Camera and Electrical Department James Bentley ... first assistant camera Darcy Conlan ... gaffer Justin Sebastian ... gaffer Cameron Trafford ... second assistant camera Editorial Department Scott Burgess ... assistant editor Other crew Annika Brooker ... production assistant Cass Dennis ... runner Ryan A. Murphy ... script supervisor Zac Musolino ... runner Kimberley Pereyra ... key runner Warrick Wynne ... Origional Poetry Thanks Paul Murphy ... special thanks Wendy Murphy ... special thanks Elizabeth Wilson ... special thanks
Director, Artist, Script, Animation - Sasha Svirsky Composer, Sound, Music - Alexey Zelensky Used a fragment of Erik Satie Gymnopedie # 3 Assistance - Nadezhda Svirskaia Synopsis: A story about a soldier who fights in a global war between robots and humanity. Once he was wounded in action, then a robot-woman helped him to get well. They fall in love but humanity as well as robots don’t want to accept this love. Festivals and screenings: - Premier: Brusov ship, Muzeon park, Moscow, Russia, 6th of October, 2015 - Big Cartoon Festival, Moscow, Russia, November 2015 - Open Russian Festival of Animated Film, Suzdal, Russia, March 2016 - the Diploma in the short film category - 28th FILMFEST DRESDEN, special program, Germany, April 2016 - 13th Festival for Short Film, Animation & Music Video, Animation Avantgarde program, Austria, Vienna, May 2016 - Future Film Festival, Bologna, Italy, May 2016, competition program - World Festival of Animated Film - Animafest Zagreb 2016, GRAND COMPETITION – SHORT FILM program, Croatia, June, 2016 - Annecy International Animated Film Festival, Out of Competition, France, June, 2016 - 7th Golden Kuker-Sofia, International Animation Film Festival, July, 2016, out of competition - XII Lago Film Festival, Italy, July 2016, special program - International Animation Festival Hiroshima, Japan, August 2016, competition program - Festival International du Film d'Animation de Paris, France, 13-18.09.16 - 12th Korea Independent Animation Film Festival, Seoul, South Korea, 22--27.09.16 - International Kansk Video Festival, Russia, Moscow, 22-27.09.16 - Libelula International Animation Festival, Barcelona, Spain, 24-23.09.16 - ANIMASIVO, Mexico City Contemporary Animation Festival, 28.09 -01.09.16 - CutOut International Animation and Digital Art Festival, Querétaro, Mexico 17-20.11.16 - International Animated Short Film Festival “AJAYU”, Puno, Peru, 02-05.11.16 - ZubrOFFka - International Short Film Festival, Bialystok, Poland, 7-11.12.16 - VOID International Animated Film Festival, Copenhagen, Denmark, 26.01.17 - Third Culture Film Festival, Hong Kong 21-24.04.2017 - XV Cine Pobre Film Festival 2017, La Paz, Mexico, 4-7.05.17 - The WE Festival, Maastricht, Netherlands, 13-20.05.17 - Kinolikbez Short Film Festival, Saint-Petersburg, Russia, 24-26.06.17 - Krok International Animated Film Festival, Moscow - Saint-Petersburg, Russia, 2017 Prizes: - The SPECIAL MENTION in the professional short film category – Open Russian Festival of Animated Film, Suzdal, Russia, 2016 - The BEST MUSIC AWARD - Third Culture Film Festival, Hong Kong, 2017
In the 1950s, a wave of “method actors” took Hollywood by storm. Actors like James Dean, Marlon Brando, and Montgomery Clift, brought a whole new toolset and perspective on the actor’s craft to the films they performed in. The foundation of their work, however, was laid in Russia more than fifty years prior to their stardom. Stanislavski’s conception of “psychological realism” in performance challenged ideas about the essential features of the actor’s craft that had been held for centuries. In theatre before Stanislavski, acting was defined as a craft of vocal and gestural training. The role the actor played was to give life to the emotions of the text in a broad illustrative fashion. Formal categories such as melodrama, opera, vaudeville, and musicals, all played to this notion of the actor as chief representer of dramatic ideas. Stanislavski’s key insight was in seeing the actor as an experiencer of authentic emotional moments. Suddenly the craft of performance could be about seeking out a genuine internal experience of the narrative’s emotional journey. From this foundation, realism in performance began to flourish. This not only changed our fundamental idea of the actor but invited a reinvention of the whole endeavor of telling stories through drama. Teachers would adopt Stanisvlaski’s methods and ideas and elaborate upon them in American theatre schools. The result, in the 1950s, would be a new wave of actors and a style of acting that emphasized psychological realism to a greater degree than their peers in motion pictures. This idea of realism grew to dominate our notion of successful performances in cinema. Stanislavskian-realism is now central to the DNA of how we direct and read performances, whether we are conscious of it or not. I think it is important to know this history and consider its revolutionary character. Understanding the nature of Stanislavski’s insights allows us to look at other unasked questions, other foundational elements of our craft that we might take for granted. — Stanislavski’s books are still fascinating explorations of the craft of performance. Check them out: An Actor Prepares: Building a Character: Creating a Role: The Stanislavsky System: — Visual References: A Place in the Sun, A Streetcar Named Desire, Anatomy of a Murder, Baby Doll, Before Sunset, Blue Valentine, Carol, Cat on a Hot Tin Roof, Daisies, East of Eden, Giant, Grandmother, Kid Auto Races at Venice, Moonlight, On the Waterfront, Somebody Up There Likes Me, Splendor in the Grass, Taxi Driver, The Breaking Point, The Heiress, The Conversation, The Misfits, There Will Be Blood, Twentieth Century, Vaudeville: Early American Entertainment, Wild River — Patreon: Twitter: YouTube:
* For a better experience play this film in 4K and use headphones. ••• ' Every time I go back to Sardinia to visit my family, I see this abandoned building in front of the sea. I felt it was the perfect place for Léo Walk and his choreographic imagination to perform, surrounded by the ruins, the surreal light of the costa verde and the intense voice of Mercedes Sosa. It creates this subtle feeling between vitality and melancholy that I wanted to express in this film. Sit back and enjoy! ' ••• ☞ ••• Behind The Scenes ☞ Shot in Todd AO anamorphics + Red Helium 8K. Sardinia, September, 2017. ••• Dancer: Léo Walk Director: Neels Castillon Cinematographer: Eric Blanckaert 1st AC: Kevin Rosé 1st AD: Sébastien Rouquet BTS Video: Thibaut Koralewski Location Manager: Alessandro Usai Production Company: Executive Producer: Ariane Cornic Producer: Marie-Gabrielle Glock Production Coordinator: Sandrine Laveau Post-production: Mikros Image Colourist: Sébastien Mingam VFX: Anthony Lassus Operations manager: Nicolas Daniel Sound Production: Benzene Sound Design: Loic Cavenet Sound mix: Hugo Escuriol Camera & Lenses: RVZ ••• SPECIAL THANKS to Angèle Van Laeken, Lucie Delaye, Thomas Pallas, Samuel Renollet, Frédéric Lombardo, Cédric Dauch, J.M Weston, Franca Usai, B&B La Magnolia, Jean-Lin Roig, Adrien Kamir, Maja Unrug, Alberto Porcedda. ••• MUSIC "Alfonsina Y El Mar" Performed by Mercedes Sosa (P) 1988 PolyGram Discos S.A Courtesy of Universal Music Publishing Films & TV Lyrics & Music by Ariel Ramirez and Falucho Luna © Editorial Lagos Courtesy of Warner Chappell Music France
----- Blu-Ray discs available here: Music by Peter Nanasi, find his work here: Follow me: / / ------- Early on this summer when I found myself down by Santa Rosa, AZ watching a gorgeous hail core fall on the stunning desert landscape, and then later that day staring at a haboob with a stacked shelf cloud above it near the border of Mexico, I had a feeling it would be a unique monsoon. It's funny how every year is different. That's the beauty of chasing the summer storm season out here in the desert southwest. You never know what's going to happen or what you might see. This year I ventured far and wide. Phoenix never saw a good dust storm all summer, but I still was able to capture a few good ones in southwest portions of the state. The cover photo for this film was halfway to Yuma standing in the middle of Interstate 8 watching an ominous wall of dust roll down the highway towards me with lightning flashing behind it. It was an incredible moment. One bonus this summer was a few successful chases up at the Grand Canyon. Finally. A couple of gorgeous sunsets, rain dumping into the Canyon, lightning at night, Milky all worked out and I'm stoked for the footage I captured there that made it into this film. I also ventured over into New Mexico twice to chase some wonderful, plains-like structure to end the monsoon this year. All told I covered about 13,000 miles and chased as far west as Desert Center, CA, as far east as Wilna, NM and as far north as Tonelea, AZ. And two great storms down in Organ Pipe National Monument, which is only about 10 miles from Mexico. I loved what I saw this year. It felt so unique. I found myself submerged in cacti and desert flora a few times with stunning light and structure. Explored places in New Mexico I hadn't seen before. Smiled at the gasps of amazement from the crowds at the Canyon when a lightning bolt would strike. Finally discovered that the Santa Rosa area is a hotbed for supercell activity. And while it didn't make it on time-lapse, I captured a brief tornado over downtown Phoenix! So...the film. So much effort and energy went into it. I shot over 110,000 frames of time-lapse and likely only half of it ended up in the final cut. The editing has taken me weeks and even right up until Monday evening I was still fixing and tweaking. The music is all custom, thanks to the amazing work of Peter Nanasi. PLEASE check out his website and buy his albums! I love how we work together to develop a track that seems to fit exactly with the clips I capture. I am so incredibly blessed that his work crossed my path. A quick thank-you to the workshop guests I had this summer. You guys were amazing troopers, staying out to all hours and being around for some awesome storms. In fact, I am not sure that I would have even been on the shelf cloud in the final scene of this film if it hadn't been for my workshop. Thank you, thank you! As always though, what made it fun was sharing a lot of it with my kiddos. They made the trip up to the Grand Canyon with me once and it was such a blast of an experience. Asher joined me in New Mexico one day, just he and I, and I got to see his face light up when he captured his first ever lightning strike on video on his little iPad. To my wife Jina...we've come a long, long way since we started this storm chasing journey years ago. It's not been easy all the time, especially with me being on the road so much between April and October these days. But we've slowly figured things out and I'm unbelievably grateful to you for your support and belief in what we're doing together. To everyone else...thank you for your continued support of my work. I am constantly blown-away at the kindness that you show to me. And now...I hope you enjoy this film. Technical Details: I used two Canon 5DSR’s along with a Canon 11-24mm, 35mm, 50mm, 135mm and Sigma Art 50mm. Manfrotto tripods. The final product was edited in Lightroom with LR Timelapse, After Effects and Premiere Pro.