EDITING AGAIN

Spent the whole day yesterday doing refinements for the final cut at Ren's new place in Amsterdam.

Editing is such a time consuming process where every change involves fraction of seconds! We were adjusting dialogues, re-editing the end scene, making the title frame, adding to the credit list, replacing voiceovers.

It's been a great journey that could not have happened without the team. Thank you cast and crew!

Let's see where this thing goes. Till the next update.

CREDITS

REN HORNG YEE
Editor
Assistant Director
Art Director


LOC CAO-HUY
Boy voiceover
Logistics


CARLOS BEIRA
Assistant Camera
Location Manager


SEVERINE PORZIO
Girl
Translator (with Arie Worthalter)


FENG HAN
Guy
Translator


OANA JIANU
Production Assistant


JOHN MALAIHOLLO
Still photographer


JANITA HAN
Director
Producer
Writer
Casting


JOOST BUIJS
Production Mixer


TAN YI HUANG
Music

SPECIAL THANKS TO
Filip Geerts- for Brussels & the Maas Tunnel
2012 Architects- for the chairs and the wheelchair in the movie
Bastiaan Bijl- for the recording studio
Huimin Huang- for the "ogre and castles" line i stole from her
Chen Qing- for the discussions and logistics!
Arianna Ricciotti & Giulia Melloni- for the drawing you see in the film
Beatriz Fernandez Garcia- for her jacket which we borrowed at the last minute
Saba Ghasemisadeh & Hoda Khanbani- for the 3 legged stool
Richard Bekking- for introducing Joost and being overall enthusiastic
Rob Maas- for the cameras
Sofranita Gunawan aka Tata- for capturing the video
Holly Burgess- for bothering with the requests of rookie directors!

THE DVD

I wanted to put this up- took this picture whilst on the train trip from Leiden to Rotterdam on the 1st of October 2008. The material manifestation of a project going to the festivals.

More to come!

THE SOUND PEOPLE

Let's meet the sound people! They are just as important as the visual people- and you only know this when you hear jarring noises in your movie- or else you don't notice them.

There's Joost Buijs who's gonna make the mediocre recordings that we have sound professionally amazing. Every movie needs their technical people..

Tanyi- We had fun making music- and tried some experimental singing as well, inspired by Aki Takase and Lauren Newton- hehehe. I wanted some voices that were half singing half breathing-

Bastiaan- who was so kind to let us use his equipment- and gave great suggestions for recording as well...

Bastiaan's studio- We were there on Friday 10th recording and rerecording, copying, discussing etc. It was a fun day really. Especially the experimental singing!

BUMPY SOLUTION

I've recently thought of 2 solutions to the bumpy floor problem that we had, causing the camera to move up and down throughout the shot:

1. Have the camera on the wheelchair without a person on it! If the chair is light the bumps won't be so obvious, no? It would have also been easy to control.
2. Buy some foam mats and pave the ground

Solution 1 was the most why-didn't-i-think-of-that kind of solution. arggh.

COS

The story goes- after checking the UPS shipment details the clothes went to Rotterdam. I was a bit freaking out for a while when I thought about the person in Rotterdam who "stole" my clothes by faking my signature for the package!

But then the pack went back to London.

Now they are sitting in a box in my room.
Really nice dress!

MAKING MUSIC

rewriting the music on Thursday morning and recording on Friday!
Thanks to Bastiaan who allows us to use his electric piano and top notch recorder!

EXPOSE PART 3

What is the filming concept of the movie?

A girl ponders about her feelings for a BOY. As she talks, you realise her emotional journey begins to correlate with the space that she is in. Her emotional journey to liberation is followed by the viewer in a single shot through the tunnel, where the shot pans from GIRL to GUY in the space.

As an architect, I am interested about how space can be manipulated to create effects. The idea of the technique of filming came about from discussions with Ren, also fellow architect, who helped conceptualise the movie very early on in February. The camera becomes a single perspective where the parameters of its operations were determined- namely a single panning shot with (as much as possible with the technology that we have!) constant speed in one direction. So throughout, it is as if the actors dance around the camera, acting even behind it. The camera is static only at the beginning of the film and the end of the film.

Throughout, GIRL and GUY talk, but almost to themselves, insulated in their own world respectively, and you can see that in the language and screenplay; only at the end do they appear on screen at the same time.