ADDITIONAL WORK & ARTICLES
|
In the summer of 2014 I travelled to Denmark to collaborate with my Body Canvas co-creator Julie Schmidt Andreasen. She had been successful in acquiring funds from Stevns Kommune to run an open public dance workshop on the grounds of Vallø Slotspark, home to Vallø Castle. A main part of her proposal was for me to create a film capturing the people, place and dance. We shot Branches and Bones over two days and you can watch the finished film in the Vimeo player to the left.
I spent about three weeks in Denmark; initially spending time with family who live there, starting in Odense on the island of Fyn and then onto Copenhagen for the majority of filming with Julie. Read on for my journal through phone pictures, production images and photographs I've collated from my time in the country, along with retrospective writing and analysis. I discuss the filming process, stories of things that happened, the country and shine a light on the continual discovery of unplanned films... |
Getting There & Visiting FAMILY
Firstly, a slight detour. I had a random but pleasant conversation on my flight with a music writer about his Scandinavian hits, of which I was ashamedly clueless; I'm not too hot on current Swedish pop culture! I never knew songs got written and then handed out to be singles for the musicians like a factory, you learn something new every day. It was funny to be suddenly talking about this obscure topic while hundreds of feet in the air, but it turned out to be a pretty interesting start to the trip! We landed at Billund Airport, continued chatting as we got our bags off the conveyor and swapped e-mails.
Driving From Billund Airport To Odense, The Sun Shines On Arrival.
|
Disco Ball Where I'm Sleeping.
|
My brother picked me up from the airport and we headed to Odense, where I would stay with him and his family. Due to dates being pushed back for the planned shoot, I was there quite a lot longer than we had anticipated! It was the longest I'd spent with my brother in quite some time, as he's been living in Denmark a decade now. We managed to watch every football World Cup game that was on and like kids again we created a new game called "Two-Man-Ball". I would go into the intricacies and rules of the game, but that'd need a whole new page (with complex diagrams). I tried to get a feel for the city of Odense, taking pictures on walks, amounting to a small portion of a portrait you can see below. It's a wonderful place, with a modern veil but rooted in Danish culture.
PHOTOS OF ODENSE
Observing THE WITCH
Still From 'The Witch'.
During my time with my brother, the annual midsummer tradition of "Sankt Hans Aften" took place. This is somewhat similar to UK's "bonfire night", but instead places the effigy of a witch atop the fire. I first came across this event when in Aarhus years ago and I've often thought about an approach to filming it. Back then, it was a colossal pile of wood with a startlingly realistic witch on top; but this time the children had made only a small one, akin to a doll (< picture). There were large crowds before but this time it felt personal and quiet. It's a really normal occurrence every year in Denmark but there's an undefinable element within it, to me, and I found it fascinating.
I couldn't resist videoing the flames and on the peripheries observing family and friends interacting with it. My brother joked that I'd never seen fire before, but there was a quality to this that I can't quite explain. It was drawing my attention and without my proper camera, I started shooting on my iPhone 4. I had never done this before and the results were sort of peculiar. The colours and exposure were temperemental on the bright summer day; with absolute white filling the screen at points where the camera can't get the automatic exposure correct. However, this became something I started doing on purpose, pushing the camera into decision-making. Basic cameras find such unique imagery by having a mind of their own.
Now, looking over what I recorded, I can foresee the shaky handheld nature of the footage posing a challenge in the edit. The shots may need to move quickly and be a mosaic of the event. I'm playing with the idea of rapid cutting and seeing how the narrative might be put across using that technique - in a form representing a disjointed memory, rather than a straight documentation. The Witch will be a chapter in my Phantom Ships web series as a short documentary sketch.
I couldn't resist videoing the flames and on the peripheries observing family and friends interacting with it. My brother joked that I'd never seen fire before, but there was a quality to this that I can't quite explain. It was drawing my attention and without my proper camera, I started shooting on my iPhone 4. I had never done this before and the results were sort of peculiar. The colours and exposure were temperemental on the bright summer day; with absolute white filling the screen at points where the camera can't get the automatic exposure correct. However, this became something I started doing on purpose, pushing the camera into decision-making. Basic cameras find such unique imagery by having a mind of their own.
Now, looking over what I recorded, I can foresee the shaky handheld nature of the footage posing a challenge in the edit. The shots may need to move quickly and be a mosaic of the event. I'm playing with the idea of rapid cutting and seeing how the narrative might be put across using that technique - in a form representing a disjointed memory, rather than a straight documentation. The Witch will be a chapter in my Phantom Ships web series as a short documentary sketch.
COPENHAGEN
I travelled via train from Odense on the island of Fyn to Copenhagen. It's a nice smooth journey that takes you over the sea (picture right). What's not quite reflected in the image though, is the sense of clear space all around you. Going over the water was quite a weird experience, as you almost glide over the waves. This probably means I need to travel and even just get out more! Hardly the Grand Canyon, but there was something special about this.
I stepped off the train and was pretty pleased to get to Copenhagen finally. Travelling with a big suitcase and camera is such a burden and the only part of the trip I'd been not looking forward to. I like being free of baggage and responsibility for it, so having heavy and important stuff was a nuisance but it's the nature of things when working abroad. I was meeting my friend Henrik shortly after arriving but had time to kill, so I walked outside the station for a wander in this new place... with instant confusion. The first thing I saw was not what I expected at all! Perhaps stunning contemporary architecture or the character of an old city, but it was Tivoli (picture below) a big theme park smack in the middle of Copenhagen and next to the station!? A tall spire with spinning seats for adventurous tourists greeted me. It was just so damn weird! However, I would see all the things I expected with Henrik walking us all over the city to see the great churches, shops, harbour and royal buildings. Looking back, it'd be nice to have more photos of what I saw in Copenhagen, a stunning place. I'd kept my camera away the whole time, as I wanted to have organic memories, not catalogue and document at every opportunity as the camera becomes my way of seeing. Once it's out, I tend to distance myself from where I am and I wanted a normal experience.
At the end of the day I met Julie and would be staying with her family while we worked. I hadn't seen her since filming at the Barbican. Although we hadn't filmed anything yet, there was already a sense of satisfaction that we'd finally reached this point, planned for months. We took a train and a bus to her home in Herlev, which is about 9km North West of Copenhagen city centre. It was be such a pleasant and comfortable stay with Julie's family. When you're working on a film, where you're living has an influence on mood and this was certainly a relaxing welcoming environment. I felt very grateful for this.
I stepped off the train and was pretty pleased to get to Copenhagen finally. Travelling with a big suitcase and camera is such a burden and the only part of the trip I'd been not looking forward to. I like being free of baggage and responsibility for it, so having heavy and important stuff was a nuisance but it's the nature of things when working abroad. I was meeting my friend Henrik shortly after arriving but had time to kill, so I walked outside the station for a wander in this new place... with instant confusion. The first thing I saw was not what I expected at all! Perhaps stunning contemporary architecture or the character of an old city, but it was Tivoli (picture below) a big theme park smack in the middle of Copenhagen and next to the station!? A tall spire with spinning seats for adventurous tourists greeted me. It was just so damn weird! However, I would see all the things I expected with Henrik walking us all over the city to see the great churches, shops, harbour and royal buildings. Looking back, it'd be nice to have more photos of what I saw in Copenhagen, a stunning place. I'd kept my camera away the whole time, as I wanted to have organic memories, not catalogue and document at every opportunity as the camera becomes my way of seeing. Once it's out, I tend to distance myself from where I am and I wanted a normal experience.
At the end of the day I met Julie and would be staying with her family while we worked. I hadn't seen her since filming at the Barbican. Although we hadn't filmed anything yet, there was already a sense of satisfaction that we'd finally reached this point, planned for months. We took a train and a bus to her home in Herlev, which is about 9km North West of Copenhagen city centre. It was be such a pleasant and comfortable stay with Julie's family. When you're working on a film, where you're living has an influence on mood and this was certainly a relaxing welcoming environment. I felt very grateful for this.
|
|
PHOTOGRAPHING THE BEACH
In a meeting before travelling, I suggested to Julie that we make a short film out of new dance choreography she was telling me about that would soon debut at a Danish museum. I didn't want a proposed day off and decided if we had spare days we should shoot something on them. Looking for a location to stage the main filming, I was taken to a Copenhagen beach for a recce. We'd been in conversation on whether to have a city backdrop, sea etc. and what exact position; so I wanted to return to Julie with some images to discuss.
I started taking photos of the place in black and white, trying to get a feel for it through the camera's eye. What started out as a quite mundane procedural task turned into a new creation, albeit unintended initially. I was seeing so much character in the people and environment, instincts took over and within a few hours I'd generated a photographic portrait. It was such a unique location with merging elements; planes landing parallel to the beach for Copenhagen Airport, the bridge over to Malmö (Sweden) misty in the distance and loads of action on the sea. There was a convergence of sport, relaxation, travel and culture crossing over. Other discoveries were a massive outside barbecue by a small port and a display of handmade pictures by children. Take a peek at four images below as a preview for the film that will be a chapter of Phantom Ships, my new web series of short film sketches and experiments.
I started taking photos of the place in black and white, trying to get a feel for it through the camera's eye. What started out as a quite mundane procedural task turned into a new creation, albeit unintended initially. I was seeing so much character in the people and environment, instincts took over and within a few hours I'd generated a photographic portrait. It was such a unique location with merging elements; planes landing parallel to the beach for Copenhagen Airport, the bridge over to Malmö (Sweden) misty in the distance and loads of action on the sea. There was a convergence of sport, relaxation, travel and culture crossing over. Other discoveries were a massive outside barbecue by a small port and a display of handmade pictures by children. Take a peek at four images below as a preview for the film that will be a chapter of Phantom Ships, my new web series of short film sketches and experiments.
Dance On the beach
As mentioned regarding the recce, we would film Julie and Karl's new choreography on the beach. Performing the duet with her was Karl, a strong and well-trained balletic dancer. It was a challenge to dance on the sand and extra tiring in a melting heat. Especially when I give little mercy in repeating shots or getting alternates. The way the sand moves under your feet, in terms of doing lifts together is strenuous and generates mistakes from loss of balance. It's beautiful but not as easy as I thought the soft sand would be!
Before we'd started and gotten a rhythm of shooting going, a photographer came for some publicity photos for the premiere performance of the choreography. I was getting quite impatient waiting, as it was taking away valuable time - however, it didn't last too long. I was concerned we might run out of light and I was itching to get going fully, nervous that we'd have an incomplete piece of work on our hands. Of course, time is always against you.
I hadn't seen the choreography in full until I was on the beach, but knowing the placement of the two performers, I had drawn out a schematic and a loose shot list. As we filmed, if anything, the list got smaller and shots merged into one another. All additional shots were improvisational; close-ups of intricate hand contact, cutaways of the beach and moments of stillness I could use to pace and structure the film. Having clear beginnings and endings as options can be a real life-saver in the edit, otherwise there can be an awkwardness and loss of control as to how to put it together.
We filmed from mid-afternoon until evening. Space formed away from the public later in the day when it was less busy. As the sun went down during filming, the colours and light altered for set-ups. I am quite happy with this, as I see the sequence as a dream and I'm intrigued to see how this aesthetic element will be perceived once the film is constructed. Potentially as the light fades on the dance, hours appear as minutes to the viewer. I would of shot all day for safety and coverage, but there is only a window of time you can get the best from your dancer's stamina, performance and concentration. A shorter shoot of solid work is much better than a long day of gradual fatigue for them. Also with us was Miloud Sabri; a talented musician who provided live accompaniment on the beach and we're using his music for the film soundtrack too. He is the live musician for the museum performance as well. He was a pleasure to work with and deciphered from my poor articulation and basic music knowledge, he can surprisingly play whatever is in my head.
Before we'd started and gotten a rhythm of shooting going, a photographer came for some publicity photos for the premiere performance of the choreography. I was getting quite impatient waiting, as it was taking away valuable time - however, it didn't last too long. I was concerned we might run out of light and I was itching to get going fully, nervous that we'd have an incomplete piece of work on our hands. Of course, time is always against you.
I hadn't seen the choreography in full until I was on the beach, but knowing the placement of the two performers, I had drawn out a schematic and a loose shot list. As we filmed, if anything, the list got smaller and shots merged into one another. All additional shots were improvisational; close-ups of intricate hand contact, cutaways of the beach and moments of stillness I could use to pace and structure the film. Having clear beginnings and endings as options can be a real life-saver in the edit, otherwise there can be an awkwardness and loss of control as to how to put it together.
We filmed from mid-afternoon until evening. Space formed away from the public later in the day when it was less busy. As the sun went down during filming, the colours and light altered for set-ups. I am quite happy with this, as I see the sequence as a dream and I'm intrigued to see how this aesthetic element will be perceived once the film is constructed. Potentially as the light fades on the dance, hours appear as minutes to the viewer. I would of shot all day for safety and coverage, but there is only a window of time you can get the best from your dancer's stamina, performance and concentration. A shorter shoot of solid work is much better than a long day of gradual fatigue for them. Also with us was Miloud Sabri; a talented musician who provided live accompaniment on the beach and we're using his music for the film soundtrack too. He is the live musician for the museum performance as well. He was a pleasure to work with and deciphered from my poor articulation and basic music knowledge, he can surprisingly play whatever is in my head.
Wrapped & Heading Home.
As we approached the final shots on the list, I realised we didn't have a solid ending and needed one. The filming had gone well but I felt there was something missing to complete it; a character moment between the two of them. More of two people than of two dancers, a strong symbolic image or piece of a story between them. I put Julie on the spot to create something, perhaps just a few gestures. After a short discussion her and Karl were ready and we decided the final imprint of an image should be in the water, with which Julie and Karl were reluctantly enthusiastic at the prospect!
The new movement was elegant and decisive with the characters (without revealing exactly what occurs) it adds a dimension of ambiguous interaction, adding a layer of narrative unseen until this point. Aesthetically within the uncut shot, I wanted to relate the perspective for the two of them to become towering to the camera; the sea as an unsteady and unreliable floor reaching to the back of the magenta sky. They hold positions with an eerie stillness and the small waves moving around them become accentuated; an otherworldliness appears on screen for the finale. At least, that's the aim to finish the film. I am particularly pleased with the effect of the low light and the colours in the final shot, as well as the composition. It is perhaps often the way that it's the unplanned portions of filming, when you have to quickly react and give instinctual choices where some of the most thoughtful and truly artistic results come out. A title for the film is as yet undecided, but I've decided it will be the first chapter of the Phantom Ships web series.
The new movement was elegant and decisive with the characters (without revealing exactly what occurs) it adds a dimension of ambiguous interaction, adding a layer of narrative unseen until this point. Aesthetically within the uncut shot, I wanted to relate the perspective for the two of them to become towering to the camera; the sea as an unsteady and unreliable floor reaching to the back of the magenta sky. They hold positions with an eerie stillness and the small waves moving around them become accentuated; an otherworldliness appears on screen for the finale. At least, that's the aim to finish the film. I am particularly pleased with the effect of the low light and the colours in the final shot, as well as the composition. It is perhaps often the way that it's the unplanned portions of filming, when you have to quickly react and give instinctual choices where some of the most thoughtful and truly artistic results come out. A title for the film is as yet undecided, but I've decided it will be the first chapter of the Phantom Ships web series.
Filming AT The CASTLE
It was finally upon us, the reason for being in Denmark, our film at Vallø Slotspark, home to Vallø Castle. It a privilege and unique opportunity, as the permission for professional filming is granted very rarely. The place is held preciously and although open to the public, is reasonably private, with people still actually living in the castle itself. The film was a document of the dance workshop that Julie would run for two days, a series of exercises and original choreography that initiated interaction physically with nature and the natural environment, leading the participants on a tour through various beautiful areas.
It was difficult to film, mainly because of the language barrier. The instructions and direction to the group from Julie teaching was in Danish, so I never understood what was being asked of them or what was next! Couple this with my aim to be innocuous and allow things to flow as if I wasn't there, keeping a distance. With the majority of the groups being regular public, unused to expressing themselves through dance perhaps, I wanted to make sure I didn't inhibit or embarrass anyone by having them under the preverbal microscope of my camera. I wanted them to become immersed in it without worrying about me creating a film, often looking at them very subjectively, so I made sure I kept a away initially and only as the workshop progressed got closer to them. Some of the more intimate images are when I moved in eventually. A minor issue was the weather - sunny on the first day but quite rainy on the second, meaning that there was a lot of stopping and starting. We did some scenes undercover because of the rain and a byproduct was a desirable subdued mood to those parts.
I had to film the piece with an instinct relating to what I could see the people doing and the characters that were developing in front of me. There was an anticipation for the moment and image of story, as the participants looked outwardly at the abundant greenery around them but inwardly to express it.
It was difficult to film, mainly because of the language barrier. The instructions and direction to the group from Julie teaching was in Danish, so I never understood what was being asked of them or what was next! Couple this with my aim to be innocuous and allow things to flow as if I wasn't there, keeping a distance. With the majority of the groups being regular public, unused to expressing themselves through dance perhaps, I wanted to make sure I didn't inhibit or embarrass anyone by having them under the preverbal microscope of my camera. I wanted them to become immersed in it without worrying about me creating a film, often looking at them very subjectively, so I made sure I kept a away initially and only as the workshop progressed got closer to them. Some of the more intimate images are when I moved in eventually. A minor issue was the weather - sunny on the first day but quite rainy on the second, meaning that there was a lot of stopping and starting. We did some scenes undercover because of the rain and a byproduct was a desirable subdued mood to those parts.
I had to film the piece with an instinct relating to what I could see the people doing and the characters that were developing in front of me. There was an anticipation for the moment and image of story, as the participants looked outwardly at the abundant greenery around them but inwardly to express it.
Sheltering From Rain At Vallø Castle.
|
Rain Delays Us, But Spirits And Comradery High.
|
Rehearsing For The Next Scene.
|
Shooting at Danse Kapellet
With my packed suitcase in tow and only a handful of hours until my flight home, we headed to Danse Kapellet in Copenhagen for some final filming. Danse Kapellet literally translates as "Dance Chapel", the main feature a converted chapel, is a dance institution with available space for rehearsals, performances and workshops. Already hired for a rehearsal for Julie and Karl, we decided to make use of it and show off the incredible space and incorporate it into the beach film. The unique circular room gives no clear front or back like a traditional stage. It felt like a miniature coliseum and the windows gave sharp pools of light.
It occurred to me that the way these scenes could be integrated with the beach scenes was that these could be the reality and the beach a daydream. As Julie and Karl would sweat and perfect the choreography as characters separated from the outside, they would float away to a place of freedom. With this narrative growing in my mind, I could see the sculpting of a story coming together and started to shoot accordingly. We would begin in the studio, similar to The Body Canvas, then the dancers would escape its restraints. Miloud was included as a mysterious character, moving between dream and reality.
Though me and Julie hadn't realised until the morning, it was Karl's birthday and we gave him some traditional Danish cakes during a break from filming! I'm really looking forward to piecing together the filming from both locations and I look forward to sharing it.
It occurred to me that the way these scenes could be integrated with the beach scenes was that these could be the reality and the beach a daydream. As Julie and Karl would sweat and perfect the choreography as characters separated from the outside, they would float away to a place of freedom. With this narrative growing in my mind, I could see the sculpting of a story coming together and started to shoot accordingly. We would begin in the studio, similar to The Body Canvas, then the dancers would escape its restraints. Miloud was included as a mysterious character, moving between dream and reality.
Though me and Julie hadn't realised until the morning, it was Karl's birthday and we gave him some traditional Danish cakes during a break from filming! I'm really looking forward to piecing together the filming from both locations and I look forward to sharing it.
A Unique Circular Space.
|
The Stunning Domed Ceiling Of Danse Kapellet.
|
Taking A Break In The Danse Kapellet Courtyard.
Celebrating Karl's Birthday.
|
Entering The "Dance Chapel".
|
Miloud Provides The Music.
|
Finding images in the quiet SPACES between scenes
On the morning of the second day shooting at Vallø Castle, the performers were delayed getting to us. I used the time to look for useful cutaways to use in the edit, exploring areas of the grounds around the castle and the hidden corners of the park I'd missed. Much later when I returned to England and I was editing Branches & Bones, I ended up using very little of this material. They could give extra context but I wanted the film to not move too slowly. Giving longer gaps between the dancing would have given a greater sense of placement for the viewer and more of a duration of the journey, but it also may have become extrenuous to a viewer and unnecessary - only there because it exists. Literally between scenes though, I'd found worthwhile images in the quiet spaces that I didn't want lost and as I scanned through them on my timeline I decided that I would put together a short piece to show them. It will represent a lonely stroll through the park and will be called Nothing Is Happenning At Vallø Castle, another chapter of the Phantom Ships web series.
Still From 'Nothing Is Happening At Vallø Castle'
'Branches & Bones' Completed and Another Film Appears
During the editing of Branches & Bones there was a scene that I totally omitted and will be putting together as a supplement to the main film. The "listening game" was an exercise in which pairs took it in turns to lead their partner through sound, while their eyes are closed. The game is built on a playfulness and trust between two people, as one is lead in darkness wherever the other takes them, navigating and moving through the environment around them. Despite the scene garnering some of my favourite images and moments of communication between performers, I decided that it would be better suited to being its own short video.
Flying home
It was the end of my time in Denmark. I came home with a sense of over-achievement, returning with more films than planned and that I'd made the most being out there. I'm glad we pushed ourselves to do more and be efficient with our time, looking forward to more short pieces of work coming together in the near future.
When you're in the moment you don't take things in; you're stressed like any job and are looking shortsightedly at the task at hand. At the time, I didn't appreciate some of the beauty and variety I'd experienced in my relatively short trip, so it's been really pleasant and uplifting for me to look back and reflect on it. I've been so happy to share my experiences here. Perhaps talking of the challenges and the filming processes, this has been useful reading... and if you've read the WHOLE article - thank you!
When you're in the moment you don't take things in; you're stressed like any job and are looking shortsightedly at the task at hand. At the time, I didn't appreciate some of the beauty and variety I'd experienced in my relatively short trip, so it's been really pleasant and uplifting for me to look back and reflect on it. I've been so happy to share my experiences here. Perhaps talking of the challenges and the filming processes, this has been useful reading... and if you've read the WHOLE article - thank you!
Someone Scratched Away For A Toilet View!
|
This The Right Way?
|
White Cloud Mountain In The Distance.
|
Landing Into A Wall Of Rain - Hello England!
|
