Welcome to our exclusive interview with Sophia Liu, a talented filmmaker, producer, cinematographer, and screenwriter who spends her time between Paris and Shanghai. Sophia’s diverse background in art history, cinema, theatre, and communications has profoundly influenced her artistic vision. With a master’s degree in theatre studies from the University of Paris III Sorbonne Nouvelle, she brings a unique perspective to her craft.

Sophia fearlessly explores gender issues and paradigm shifts in love, infusing her work with a poetic sensibility. Her short films, including “Ne te retourne pas,” “The Listener,” “Absentia,” and her latest, “Touching Moon,” showcase her ability to evoke profound emotions and ask thought-provoking questions.

Beyond her creative pursuits, Sophia is also the founder of SL Studio, a platform that produces international commercials while focusing on cultural and artistic projects. Through her work, she continually seeks to engage with meaningful storytelling and captivate audiences with her unique vision.

In this interview, we delve into Sophia’s experiences studying in Paris, her inspirations as a filmmaker, her life in Shanghai and Paris, struggles with the Covid lockdown in Shanghai, and Sophia’s distinct approach to independent filmmaking.

Can you share any specific experiences or observations from the Covid lockdown in Shanghai that directly influenced certain scenes or elements of the film? How did the extreme living conditions during the lockdown influence your thinking and perspective on life and societies?

The extreme living condition that we have experienced was something unthinkable for people who live in a modern society. When the whole city machine was suddenly shut down, everyone was in a very confused situation without knowing what’s going to happen next. We lived in fear, certainly. I reflected this in the film: “Maybe only when the whole world suddenly suspends, we could have a chance to figure out, what’s important, and what’s not.” The most flagrant point for me, was the total cancellation of social activities overnight. Money lost its value suddenly, we had to exchange with neighbors for specific supplies. “How could I imagine that I used my last egg to exchange for a roll of toilet paper with my neighbor?” This question of Siqi in the film came actually from my personal experience at that time. This made me think, modern societies are functioning in a complex exchanging system. Whether we like it or not we cannot deny the fact that we live in a highly developed commercial society today, and the whole world is connected by this system. People may be unconscious, but if we carefully count the number of transactions we make every day, we’ll certainly be surprised. People need each other, from basic life needs to connecting to the outside world… Societies also need each other, no matter how different they are. Keeping communicating and exchanging with each other in peace is always better than isolationism, confrontations, or vicious competitions. That’s why I wrote in the film: “No one can live alone in the world of today; we all need each other to survive.” 

Why did you choose to create the character of Mangyan as an aggregate figure of all women and young queer artists struggling at that time and space? What message or representation did you hope to convey through this character?

Certainly, the past Covid period was extremely difficult for everyone, but it certainly fragilized more who live relatively on the edge of the society: youths, artists, women, queers, elders… Through the character of Menyan, I’d like to convey HOPE for them. Let them foresee the possibilities in their lives and the power in their hands. 

You mentioned that the story is not just about struggles but also about all the choices we need to face in life. Could you elaborate on the choices explored in the film and why they are significant?

Yes. Choices are crucial. They are directions. The character of Mengyan faces many choices in the film, just like you and me, like everyone in real life. Whether stay or leave in an unhappy relationship, whether continue to live at the same place or move to other places, whether live a comfortable life or pursue an artistic career, whether live in others’ judgments or listen to herself…? Those questions lead to life choices. Everyone needs to face to some important questions in their lives and make important choices at a certain point. I think the worst is when people are not even aware of possibilities in their lives, that they have choices, and are able to choose. Even sometimes, it seems almost impossible. I think it’s important to always believe that one has choices, no matter how hopeless the situation seems to be, and always remember to ask oneself if there are better options when facing difficult and delicate situations. 

The themes of self-discovery and reaching one’s dreams seem central to the story. How does Mangyan’s journey of self-exploration and the pursuit of her artistic career contribute to the overall narrative?

After our premiere screening in Paris, a young lady from the audience said that she feels the end of the film is only a beginning and she’d love to know what will happen next for the characters. I was a bit surprised but also very pleased to hear such statements. I think she was totally right. The whole film was only a process of self-awakening of Mengyan. The decisions and actions should happen next, out of the film, in audience’ wish fulfillment. That’s why I’d like to say this film is about “dreams”, in the sense of life purposes. The original film title in Chinese “触梦” means exactly “Touching Dreams”. The word “梦 (Meng)” pronounces very similarly with “Moon”, so I chose to use “Touching Moon” as translation. Menyan’s dream stands for everyone’s dreams. From a young woman who wishes to be an artist to a person who considers herself as an artist, there is a big gap to cross. That’s probably the most important thing that Mengyan has accomplished in the film. 

In the film, when Mangyan encounters Siqi, she tells Mangyan not to place too much value on other people’s opinions. Can you explain the significance of this encounter and how it relates to the theme of personal freedom?

For me, life was composed with encounters. In different life stage, we met different people. Some of them influence us in significant ways. The character of Siqi is a figure of mature artist and established free woman. She understands that life belongs to oneself, and it is only oneself can define and give meaning to it. Mengyan is actually a younger version of Siqi, young, sincere, passionate with plenty of self-doubts and potentials. For Mengyan, the existence of Siqi is an inspiration. She’d love to be like her, to live as free as she does. Their encounter urges Mengyan to reevaluate her life, to make better choices, and eventually, to gain freedom in life. 

Personal freedom is an important subject in life. It’s very easy to forget that we are free beings, that we have absolute rights to decide which kind of lives we want for ourselves, without being judged or influenced by others, especially families and friends. This is a very hard task. I believe that personal freedom is one of the hardest and most valuable life goals. And we have to “fight” in a way or another to get close to it. 

How does the film address the concept of love and its role in the characters’ lives? How does it intersect with the broader themes explored in the story?

Love is a big theme, also my “obsession”. It’s omnipresent in my works. I never stop exploring this concept, in life and in my works. I think there is a very delicate connection between “love” and “non-love”. French writer Albert Camus once said : “La gloire, c’est le droit d’aimer sans mesure. (The glory is the right to love without measurements)” I believe that we should learn to use a certain degree of “non-love” or detachment to “love” in a proper and harmonious way. 

In the film, Mengyan used to love her boyfriend without measurements, without much consideration for herself, even in abnegation. By the encounter with Siqi, she realized that she should change her way to love. She must love herself first, trust her value and believe in her art. Only by practicing absolute self-love that she could meet authentic love with others. In the last scene of conversation, Mengyan asks Siqi: “Do you love yourself?” Siqi answered: “Of course! I’m not perfect but it’s not a reason not to love myself.” I think this is a powerful statement of self-love. And the deep-rooted self-love is the key towards love, success, independence, and freedom in life. 

The title “Tranche de Vie” suggests a slice of life. What aspects of everyday life or personal experiences did you aim to capture in the film, and why did you choose this approach?

I like the idea that our universe is like a big bread. Imaging time as a knife, when we cut the bread at a specific moment, we’ll get an ultra-panoramic image. A certain amount of time will compose a certain volume of life, that I’d like to call it “Tranche de vie (slice of life)”. This concept is quite similar with filmmaking. 24 images per second, multiple certain seconds, will get us the impression of a piece of vivid life. That’s why I find cinema fascinating. When we point the camera to the world, we begin to “cut the bread” … I think I’m deeply influenced by the “New Wave Cinema” concept, that my primary motivation of filmmaking was even not storytelling, but painting human conditions, capturing states and movements of life.  

As a filmmaker, producer, cinematographer, and screenwriter, you have a diverse range of roles. How do you navigate and balance these different aspects of filmmaking? Are there any particular roles that you find most fulfilling or challenging?

People often tell me that “You can’t do everything by yourself in filmmaking.” And I believe that they are totally right. However, I know many independent filmmakers make their films with multiple roles. Like myself, they truly love cinema and filmmaking, and they are always passionate to learn and master filmmaking skills in every possible aspect. And we often need to face to limited budget and difficult production conditions. I came to the world of cinema from literature and theatre, and I’m very conscious about my creative roots. Once I get those words translated into moving images, I got addicted into the filmmaking process immediately. I think the different aspects of filmmaking are intrinsically and closely connected. Writing, shooting, directing, editing, producing… no matter what I do, the passion of expression behind is the same. I can’t help myself doing and learning everything because I just love it. And I think this is the most interesting part in independent filmmaking. For me, creative freedom is everything. I remember our post sound engineer Mr. Vincent Arnardi once said: “If I chose to work in film industry, is certainly not for fortune or for fame; or not, I should go to real-estate business.” His sentence made me laugh and I feel so grateful to have the chance to work with great professionals like him. 

The pursuit of an artistic career is also highlighted as a central aspect of the film. What messages or insights do you hope to convey to aspiring artists through this exploration of pursuing one’s dreams? Are there any personal experiences or beliefs that influenced your portrayal of this theme?

Yes, the pursuit of an artistic career of the protagonist Mengyan is at the core of “Touching Moon”. There are highs and lows in life. It’s easier to believe in art when things are going well. But when situations like the pandemic suddenly occurs, many artists lost their hopes and insights. I remember when the covid firstly strikes in the beginning of 2020, every day seems so long and grey under the first lockdown, I told myself: “This too shall pass”. And today, when this nightmare gets over, it feels like a victory. What doesn’t destroy us only makes us stronger. And it’s very true. Life is full of surprises, if we can always keep our destination in sight even in uncertainties, we can surely drive life to where we’d like to get. 

How did you approach the visual aesthetics and cinematography of the film to enhance the storytelling and capture the essence of the narrative? Were there any specific visual choices or techniques employed to convey certain emotions or themes?

Our aesthetic approach for “Touching Moon” aims a simple, elegant, and effective visual style. Same as the film music, I didn’t want the visuals standing out too much, but rather helping us creating characters and telling the story. I like using static shots, especially in the scenes of conversations. The moving shots are present when necessary and most of them are beautifully shot by my talented friend Stanislav Semeniuk. I love very much the walking scene with tracking shots of Mengyan and Siqi zigzagging in the street of old French concession area in the night of Shanghai. When shooting Mengyan alone at home, I often used close-ups to accentuate her mental state. On the poster image, her hand gently suspending in the air becomes the key visual of the film. In the rooftop scene, I used an 85mm prime lens with the aperture wide open, to create a melancholic atmosphere with nice colorful bokeh for the night scene. The dancing movements and singing expressions were put in focus in details, while the environment is blurrily present in a poetic way, hinted but not emphasized. We also used this technique in the end of the first street scene. 

What do you hope the audience takes away from watching this film? What emotions, thoughts, or discussions do you aim to evoke?

People often said that my short films are too “intellectual”, and I’m aware of it. Like I said, I’d like to present “une tranche de vie (a piece of life)” and let audience to think, feel, imagine and interpret freely. “There are a thousand Hamlets in a thousand people’s eyes” and we should be happy for that as creators. We present something universally recognizable and got echoes in many’s hearts and minds. Isn’t it enough? Isn’t it a wonderful way to connect with the world as an artist? 

How do you balance your life between Shanghai and Paris? How do these two cities inspire and influence your work differently, if at all?

Living in different cities in the world is one of my childhood dreams. It’s important for me to experience and live in different cultures and social environments. I visited Australia when I was 16. Since then, I never stopped discovering the world. I spent many years studying in Paris, where I learnt to write and to create. After graduation I went back to China and chose Shanghai to settle down. Paris and Shanghai are two important cities in my adult life, they have many similarities and differences that I love with deep attachment. They certainly shaped my life and influenced my work. I can feel free to create in these two cities, but in different ways. For me, Paris is like an intemporal Muse that nurtures and inspires, while Shanghai is more like a modern engine that powers creativity with fuels and facilities. They are both necessary. Certainly, it’s challenging to balance life and work between two major cities with such geographic distance and cultural differences, but I feel very exciting to live this way. It enforces my creativity tremendously and I’m very grateful that I have the chance to live and create freely between Shanghai and Paris. 

The post Interview with filmmaker Sophia Liu appeared first on Indie Cinema Magazine.

Veteran director David Cronenberg, known for his boundary-pushing films, has long fascinated audiences with his unique brand of body horror and psychological exploration. However, his recent offering, “Crimes of the Future,” falls short of expectations, leaving a viewer perplexed and unsatisfied. This film, which attempts to shock and provoke, ultimately descends into pointlessly disgusting and overlong territory, hindered further by dull cinematography and repetitive storytelling. The all-star cast also does not help this mess of a film. The film is about performance artists (Léa Seydoux being the doctor, and Viggo Mortensen as the patient) who perform surgery for entertainment on stage, but this circus of “sexy” medical surgery is more laughable than genuinely scary or thought-provoking. One also has fo feel pity for the talented Kristen Stewart who plays the ridiculous fetishist character in one of her worst roles.

One of the most glaring issues with “Crimes of the Future” is its excessive and gratuitous use of shock factor which fails to impress. While Cronenberg has historically excelled at utilizing body horror to explore complex themes, this film takes it to an extreme that feels unnecessary and gratuitous. Rather than eliciting genuine discomfort or engaging in meaningful discourse, the graphic and grotesque elements become the sole focus, overshadowing any potential narrative depth.

Furthermore, the film’s length becomes a detriment to the viewer’s experience. Clocking in at an extended runtime of 107 minutes, “Crimes of the Future” struggles to maintain momentum and hold audience attention throughout. Scenes that could have been tightened or omitted entirely contribute to a bloated narrative that feels self-indulgent and meandering. Consequently, the film’s pacing suffers, making it difficult to invest emotionally in the story or its characters.

Dull cinematography further compounds the film’s issues. While Cronenberg’s previous works have exhibited striking visual aesthetics, “Crimes of the Future” fails to deliver in this aspect. The cinematography lacks the creativity and finesse that have become synonymous with the director’s name. Static shots and uninspired framing contribute to a visually monotonous experience, diminishing any potential for visual storytelling to enhance the narrative.

The repetitive nature of the film’s storytelling becomes tiresome as it progresses. Rather than deepening the exploration of its themes or characters, “Crimes of the Future” seems content to repeat the same motifs and ideas without offering fresh perspectives. This lack of evolution or development renders the narrative stagnant, making it difficult to sustain interest or find any meaningful takeaways from the film.

“Crimes of the Future” is a disappointing addition to David Cronenberg’s filmography. While it attempts to shock and provoke, it instead veers into being pointlessly disgusting, relying on excessive body horror for shock value alone. The overlong runtime, dull cinematography, and repetitive storytelling further contribute to a frustrating and unengaging cinematic experience. Ultimately, this film represents a missed opportunity to delve into meaningful exploration of medical horror and falls short of the director’s previous achievements, leaving viewers with a sense of disappointment rather than awe or introspection.

The post Horrifically Dull: “Crimes of the Future” Review appeared first on Indie Cinema Magazine.

Welcome back to the thrilling journey of unleashing the maximum potential of film audio! In Part 1, we explored the fundamentals of capturing high-quality sound and delved into the realms of recording dialogue, proper mic placement, background noise control and ADR. This time we will delve into the magic of music, foley, and sound design. Get ready to take your filmmaking adventure to new heights as you master the art of affordable sound. Let’s dive in and unleash the full potential of the sonic powerhouse!

Foley and Sound Design:

Foley and sound design are crucial elements in creating a rich and immersive audio experience when making a feature film. Foley refers to the process of recording and adding custom sound effects to enhance the realism and detail of the on-screen actions, while sound design involves creating and integrating various sounds to enhance the overall sonic landscape.

Here’s an in-depth exploration of how to approach Foley and sound design for your film:

7.1. Foley Recording:

Foley recording involves capturing custom sound effects that mimic the actions and movements of the characters on screen. It adds depth and realism to the audio by providing specific and tailored sounds for each action. Gather a variety of props and surfaces that match the actions in your film, such as footsteps, cloth movements, or object interactions. Use a high-quality microphone and a quiet recording environment to capture clean and detailed Foley sounds.

7.2. Experiment with Foley Surfaces and Props:

During the Foley recording process, experiment with different surfaces and props to achieve the desired sound. For example, try using different shoes or materials for footsteps to match the character’s gait and environment. Explore various objects and materials for creating specific sound effects, such as doors opening or closing, glass breaking, or paper rustling. The key is to be creative and find objects or surfaces that closely resemble the actions on screen.

7.3. Sound Effects Libraries:

While Foley recording adds a personalized touch to your film’s audio, it may not always be feasible or practical to create every sound effect from scratch. Sound effects libraries offer a vast collection of pre-recorded sounds that you can use to enhance your film’s audio. Browse through libraries or websites that provide royalty-free sound effects and choose high-quality effects that complement your scenes. Despite the recent rediscovery and digitizing of the infamous Wilhelm Scream which has made a lot of film enthusiasts scream in delight, apply moderation and try to not to overuse clichéd sound effects. Be selective and only choose sounds that are authentic and match the tone and style of your film.

7.4. Sound Design for Atmosphere and Ambience:

Sound design goes beyond Foley and sound effects and encompasses the creation and integration of ambient sounds and atmospheres. These elements add depth, texture, and realism to the sonic landscape of your film. Consider the environment and setting of each scene and design sounds that immerse the audience in that world. For example, create a bustling cityscape, a serene natural environment, or an eerie haunted house through a combination of background sounds, ambiences, and subtle details.

7.5. Layering and Mixing:

To achieve a balanced and cohesive audio mix, focus on layering and blending different sound elements. Experiment with the volume levels, panning, and spatial positioning of sounds to create a sense of depth and space. Carefully mix Foley, sound effects, dialogue, and music to ensure that each element serves the story without overpowering one another. Regularly monitor and listen to the audio mix using quality speakers or headphones to fine-tune the balance and clarity.

7.7. Quality Control and Consistency:

Maintain consistent audio quality and attention to detail throughout your film. Pay attention to continuity in sound effects and Foley to create a seamless auditory experience. Ensure that the sounds match the actions and visuals accurately. Regularly review and listen to the audio at different stages of the post-production process to catch any inconsistencies or issues that need to be addressed.

By paying attention to Foley and sound design, you enhance the immersive experience of your film. From custom Foley recording to utilizing sound effects libraries and carefully designing atmospheric sounds, every sound element contributes to the overall audio tapestry of your film. Foley adds a layer of realism and specificity to the on-screen actions, while sound design creates a sonic environment that enhances the mood and atmosphere of each scene.

Here are some additional considerations to further refine your Foley and sound design process:

7.8. Emphasize Character Perspective:

Consider the perspective of your characters when designing sound effects. Put yourself in their shoes and imagine how they would perceive the world through sound. For example, if your film includes a point-of-view shot from a character’s perspective, design the sound effects to reflect their subjective experience. This attention to detail adds a level of immersion and helps the audience connect with the characters on a deeper level.

7.9. Experiment with Layering and Processing:

Don’t be afraid to experiment with layering different sounds and applying various processing techniques to achieve the desired effect. Layering multiple sounds can add depth and richness to the audio, while processing techniques like equalization, reverb, or modulation can shape the sound and create a unique sonic character. Be mindful of striking the right balance between realism and artistic interpretation to maintain cohesion with the visual storytelling.

7.10. Create Sound Signatures:

Consider creating distinctive sound signatures for key elements or characters in your film. These sound signatures can be recurring motifs or unique sonic identifiers that represent specific themes or emotions. For example, a character’s footsteps might have a particular sound that symbolizes their presence or personality. These sound signatures help reinforce the narrative and create a memorable auditory experience for the audience.

7.11. Pay Attention to Spatial Sound:

Spatial sound techniques, such as panning, stereo imaging, and surround sound, can greatly enhance the immersive qualities of your film. Use these techniques to create a sense of movement and space within the audio mix. For example, when a car passes from left to right on the screen, you can pan the sound accordingly to match the visual movement. Experiment with spatial sound to create a three-dimensional sonic experience that envelops the audience.

7.12. Maintain Consistency in Sound Quality:

Consistency is crucial when it comes to sound quality throughout your film. Ensure that the volume levels, EQ settings, and overall tonal balance are consistent across scenes. Sudden changes in audio quality can be jarring for the audience and disrupt the immersion. Regularly review and compare the audio of different scenes to maintain a cohesive and seamless listening experience.

7.13. Sound Mixing and Mastering:

The final stage of your sound design process involves mixing and mastering the audio. This process brings together all the elements—dialogue, Foley, sound effects, and music—into a cohesive and balanced audio mix. Work with an experienced sound mixer or audio engineer who can fine-tune the levels, dynamics, and overall sonic characteristics of your film. The goal is to achieve a professional and polished sound that enhances the emotional impact of your storytelling.

By paying meticulous attention to Foley and sound design, you elevate the audio experience of your film. From considering character perspectives and experimenting with layering to utilizing spatial sound techniques and ensuring consistency in sound quality, each element contributes to the immersive and captivating audio landscape of your film. Embrace the creative possibilities of sound and explore ways to make your film’s auditory experience truly unforgettable.

Music and Score:

Music is a powerful tool that can elevate the emotional impact of your film and enhance the overall cinematic experience. When it comes to selecting music and creating a score, there are several considerations to keep in mind.

Here’s a detailed exploration of how to approach music and score for your film:

8.1. Define the Musical Style and Tone:

Before diving into the music selection process, it’s important to define the musical style and tone that best suits your film. Consider the genre, themes, and mood of your story. Is it a suspenseful thriller, a heartwarming drama, or a lighthearted comedy? Understanding the desired musical style and tone will help guide your decision-making process.

8.2. Collaborate with Composers:

When it comes to creating a captivating feature film, working with a composer is an absolute must. A skilled composer has the ability to breathe life into your storytelling, heightening emotions, building suspense, and adding an extra layer of depth to every scene. Seek out local composers, music schools, or online platforms where you can find talented emerging composers who are passionate about working in the film industry. Engage in conversations with them, share your vision, and listen to samples of their work to assess their compatibility with your project. Discuss the emotions you want to convey in each scene, the pacing, and the overall arc of the film and don’t forget to share references such as existing soundtracks or songs that resonate with you.

8.4. Utilize Royalty-Free Music Libraries or AI Music:

If budget constraints make it challenging to work with a composer, consider exploring royalty-free music libraries. These libraries offer a wide range of pre-composed tracks that you can license for use in your film. While the emotional impact of professional musicians’ original compositions tailored for a specific project cannot be replicated by stock music, royalty-free music can still provide a suitable backdrop for your scenes, especially if you carefully select tracks that align with your film’s tone and style. A new alternative to music libraries is AI (Artificial Intelligence) generated music; by analyzing vast amounts of musical data, AI systems can learn patterns and structures to create original compositions or imitate specific genres or artists.

8.5. Licensing and Copyright Considerations:

Whether you opt for original compositions or royalty-free music, it’s crucial to understand the licensing and copyright implications. If you choose to work with a composer, ensure that you have clear agreements regarding ownership, usage rights, and any potential future revenue sharing. If using royalty-free music, read the licensing terms carefully to ensure compliance with your film’s distribution plans.

8.6. Test and Iterate:

As you progress with your film’s editing and post-production, regularly test different musical choices and iterations to ensure that the music enhances the desired emotional impact. Experiment with different placements and variations to find the perfect balance between music, dialogue, and sound effects. Solicit feedback from trusted individuals or a test audience to gain valuable insights on how the music resonates with viewers.

Remember, the music and score of your film can greatly influence its reception and impact. By carefully considering the musical style, collaborating with composers or utilizing royalty-free music libraries, and paying attention to licensing and sound design integration, you can create a compelling auditory experience that complements and enhances your visual storytelling.

DIY Sound Mixing and Editing:

Sound mixing and editing play a critical role in the overall quality of your film’s audio. While hiring a professional sound engineer may not be feasible for a low-budget production, taking on the task of DIY sound mixing and editing can still yield impressive results. In this subsection, we will explore the process of DIY sound mixing and editing, providing you with in-depth guidance to help you achieve a professional-level audio mix for your film.

9.1. Acquire the Necessary Tools and Software:

To embark on DIY sound mixing and editing, you’ll need the right tools and software. Invest in a reliable computer with sufficient processing power and storage capacity to handle the demands of audio editing. Choose a digital audio workstation (DAW) that suits your needs and budget, such as Logic Pro X, Pro Tools, Adobe Audition, or Reaper. Familiarize yourself with the software’s features and capabilities to maximize its potential.

9.2. Organize Your Sound Assets:

Before diving into the mixing and editing process, ensure that your sound assets are well-organized. Create a structured file hierarchy to store and access your audio files efficiently. Label your files with descriptive names that reflect their content or purpose. This organization will save you time and frustration during the editing process, allowing you to locate and manipulate specific audio elements with ease.

9.3. Understand the Role of Sound in Storytelling:

To create an effective audio mix, it’s essential to understand the role of sound in storytelling. Sound has the power to evoke emotions, convey information, and immerse the audience in the world of your film. Familiarize yourself with the different elements of sound, including dialogue, sound effects, ambience, and music. Recognize how each element contributes to the narrative and work towards a cohesive and impactful audio experience.

9.4. Clean Up Dialogue Tracks:

Dialogue is a crucial component of your film’s audio, as it carries the story and character interactions. Begin the editing process by cleaning up dialogue tracks to ensure clarity and consistency. Remove any background noise, pops, clicks, or unwanted artifacts using audio editing tools like noise reduction plugins or spectral repair tools. Adjust the volume levels of dialogue tracks to achieve a balanced mix that is audible and intelligible.

9.5. Balance Music and Score:

If your film incorporates music or a musical score, achieving the right balance between music and other audio elements is crucial. Carefully mix the music to complement the mood and pacing of your scenes without overpowering dialogue or sound effects. Adjust the volume levels of the music tracks to achieve a balanced and cohesive audio mix. Pay attention to transitions between scenes to ensure smooth and seamless integration of music cues.

9.6. Utilize Sound Mixing Techniques:

Sound mixing involves the art of blending and balancing various audio elements. Utilize sound mixing techniques to enhance the overall audio experience. Experiment with panning to position sounds within the stereo field, creating a sense of depth and spatiality. Utilize EQ (equalization) to shape the frequency response of individual tracks, ensuring clarity and avoiding muddiness. Apply compression and dynamics processing to control the dynamic range and ensure a consistent audio level throughout the film.

9.7. Pay Attention to Transitions:

Smooth transitions between audio elements and scenes contribute to a seamless and engaging audio mix. Use crossfades, fades, and volume automation to create smooth transitions between different dialogue lines, sound effects, and music cues. Smooth transitions help maintain the flow and continuity of the audio, preventing any jarring or abrupt changes that could distract the audience. Pay close attention to the timing and placement of transitions to ensure they are seamless and enhance the overall storytelling experience.

9.8. Experiment with Spatial Effects:

Spatial effects can add depth and realism to your audio mix. Experiment with reverb, delay, and spatialization plugins to create a sense of space and location within your film. Adjusting the parameters of these effects can simulate different environments or enhance the ambiance of specific scenes. Be mindful of using spatial effects sparingly and purposefully, ensuring they serve the narrative and do not overshadow other audio elements.

9.9. Implement Sound Design Techniques:

Sound design goes beyond basic sound editing and mixing. It involves creating and manipulating sounds to enhance the storytelling and create a unique sonic experience. Experiment with sound design techniques to add layers of complexity and depth to your film’s audio. This could include creating custom sound effects, modulating existing sounds, or applying creative processing to achieve specific sonic aesthetics.

9.10. Pay Attention to Dynamics:

Dynamics refer to the range between the softest and loudest sounds in your film. Managing dynamics is crucial for a balanced and professional audio mix. Use compression, limiting, and automation techniques to control the dynamic range and ensure that all audio elements are audible and well-balanced. Avoid excessive compression that can result in a lifeless or overly compressed sound. Strike a balance between preserving the dynamics of the audio while ensuring clarity and consistency.

9.11. Maintain Consistency:

Consistency is key in sound mixing and editing. Aim for a cohesive and uniform audio experience throughout your film. Ensure that the volume levels, EQ settings, and overall tonal balance are consistent from scene to scene. Pay attention to the sonic continuity between shots, ensuring that audio elements seamlessly transition from one shot to another without any noticeable discrepancies. Consistency helps create a unified audio experience that enhances the overall viewing experience.

9.12. Take Breaks and Gain Perspective:

Throughout the DIY sound mixing and editing process, it’s important to take breaks and gain perspective. Listening to the same audio repeatedly for an extended period can lead to ear fatigue and clouded judgment. Step away from your project and take breaks to refresh your ears and mind. When you return, you’ll be able to evaluate the audio mix more objectively and make necessary adjustments with a fresh perspective.

DIY sound mixing and editing requires patience, attention to detail, and a willingness to experiment. By following these in-depth steps, you can achieve a professional-level audio mix for your low-budget film. Remember to continually refine your skills, seek feedback from trusted collaborators, and trust your creative instincts to create an immersive and impactful audio experience that elevates your film.

Communication

Effective communication is vital in perfecting the sound of your film. Collaborate closely with the sound department, sharing a clear vision for each scene. Educate the cast and crew about the importance of clean dialogue and minimal noise disruptions. Maintain close communication with the team during post-production to refine the sound design.

Test and Seek Feedback Regarding Film Audio

Testing and gathering feedback on your film’s audio is a crucial step in ensuring its overall quality and effectiveness. Here are some key considerations to help you evaluate and improve the audio elements of your film:

10.1. Conduct Test Screenings:

Organize test screenings with a small audience to gauge their reaction to the film’s audio. Pay attention to their responses, including their comprehension of dialogue, emotional engagement, and overall perception of the audio mix. Encourage them to provide constructive feedback on any areas that may need improvement.

10.2. Evaluate Clarity and Intelligibility:

Assess the clarity and intelligibility of dialogue throughout the film. Ensure that spoken words are easily understood by the audience, even amidst background noise or music. If necessary, consider adjusting levels, re-recording dialogue, or using ADR (Automated Dialogue Replacement) techniques to enhance clarity.

10.3. Assess Sound Balance:

Check the balance between dialogue, music, and sound effects. Each audio element should have its proper place in the mix, contributing to the storytelling without overpowering or distracting from other elements. Ensure that no sound is excessively loud or too soft, creating a well-balanced audio experience.

10.4. Analyze Emotional Impact:

Evaluate how the audio enhances the emotional impact of your film. Consider whether the music, sound effects, and overall sound design effectively convey the desired mood and atmosphere. Adjust levels, choose appropriate music cues, and fine-tune sound effects to evoke the intended emotions in each scene.

10.5. Test Across Different Playback Systems:

Preview your film’s audio on various playback systems to ensure compatibility and consistency. Listen to it on different speakers, headphones, and devices to identify any inconsistencies or issues that may arise. Make necessary adjustments to achieve optimal audio quality across a range of playback systems.

10.6. Seek Professional Feedback:

Consult with experienced professionals in the field of audio engineering or sound design. Their expertise and trained ears can provide valuable insights and suggestions for improving the overall audio experience. Collaborating with a seasoned sound professional can help elevate the quality of your film’s audio.

10.7. Iterate and Refine:

Based on the feedback received, iterate and refine your audio mix. Make necessary adjustments to address any issues or concerns identified during the testing phase. Continually refine your audio until you achieve the desired impact and quality.

Remember, the audio of your film is even more important than the visuals in creating an immersive and captivating experience. Viewers are more forgiving of visual imperfections compared to audio deficiencies, which significantly impact their engagement and emotional experience. By testing and seeking feedback on your film’s audio, you can identify areas for improvement and ensure that the final product delivers a compelling sonic journey to the audience.

The World of Exceptional Sound Awaits You!

High-quality audio is an integral part of any successful film, regardless of budget constraints. By investing in decent sound recording equipment, capturing clean dialogue, controlling background noise, and employing creative techniques like ADR and Foley and sound design, you can elevate the overall audio experience of your film. Remember to choose shooting locations with favorable acoustics, properly place microphones for optimal sound capture, and carefully mix and edit your audio in post-production.

While it may require extra effort and creativity, achieving professional-grade audio is within reach for low-budget filmmakers. Take the time to invest in quality equipment, plan your sound recording strategies, and collaborate with talented musicians and sound professionals. By giving due attention to the sound of your film, you can enhance its storytelling impact and create a more immersive and memorable viewing experience for your audience.

So, don’t underestimate the power of sound in your film. With careful attention to detail and a resourceful approach, you can master the art of capturing high-quality audio, ensuring that your film not only looks impressive but sounds extraordinary too.

Embrace the challenge, experiment, be bold. Don’t be afraid to push boundaries and dare to harness the transformative power of audio. Let the beautiful sound of success elevate your cinematic creation to new heights!

Are you a passionate filmmaker with an interesting and captivating film that deserves to be seen by a wider audience? The Prague Independent Film Festival invites you to submit your exceptional work and be a part of a prestigious platform that celebrates independent cinema.

http://www.prague-film-festival.com/

The post The Art of Affordable Sound in Low-Budget Filmmaking – Part 2 appeared first on Indie Cinema Magazine.

Helmut Berger’s recent departure from this world has left a profound sadness among his admirers, who recognized his immense impact on the cinematic landscape. However, his vast body of work serves as a testament to his remarkable talent and enduring influence. Throughout his career, Berger’s performances were marked by a unique blend of intensity, vulnerability, and magnetic charisma, making him an icon of European cinema.

His collaborations with visionary directors such as Luchino Visconti and Vittorio De Sica demonstrated Berger’s remarkable range as an actor, as he seamlessly transitioned between complex roles that showcased both vulnerability and strength. Whether portraying morally conflicted characters or embodying enigmatic personalities, Berger left an indelible mark on the films in which he appeared, elevating them to new heights.

In Luchino Visconti’s powerful drama “The Damned”, released in 1969, Helmut Berger delivers a mesmerizing and nuanced performance that showcases his exceptional talent as an actor. Set against the backdrop of Nazi Germany, Berger portrays Martin Von Essenbeck, a morally conflicted character caught in a web of power struggles within his own family.

Martin Von Essenbeck is a complex character whose internal struggles mirror the external turmoil of the time. On the surface, Martin appears charming and sophisticated, embodying the privileged aristocracy of the Essenbeck family. However, beneath his refined facade lies a man torn between personal values, loyalty to his family, and the mounting horrors of the Nazi regime.

Berger brilliantly captures the multifaceted nature of Martin’s personality. He navigates the complexities of the character with finesse, seamlessly transitioning between moments of charm and charisma, and moments of internal conflict and despair. Through subtle expressions and nuanced gestures, Berger conveys the weight of Martin’s moral dilemmas, his struggle to reconcile his own desires with the atrocities unfolding around him.

As the narrative unfolds, Martin becomes embroiled in a power struggle within his family, forced to confront the darker side of his own nature. Berger skillfully portrays Martin’s descent into moral ambiguity, showcasing the internal turmoil that arises as he grapples with his desires, familial loyalties, and the allure of power. The complexity of Martin’s character is brought to life through Berger’s portrayal, drawing the audience into the psychological drama at the heart of “The Damned.”

Under the masterful direction of Luchino Visconti, the film creates a tense and gripping atmosphere that mirrors the external chaos of Nazi Germany. Visconti’s meticulous attention to detail and sweeping cinematography heighten the emotional stakes of the narrative, and Berger’s performance serves as the emotional anchor of the film.

Through Berger’s portrayal, the audience witnesses the internal struggles of Martin Von Essenbeck unfold with raw authenticity. The weight of his decisions and the consequences they entail are palpable, capturing the essence of the human drama at the heart of “The Damned.” Berger’s ability to embody the complexities of Martin’s character, from his initial charm to his moral unraveling, adds depth and emotional resonance to the film.

Helmut Berger’s performance as Martin Von Essenbeck in “The Damned” is a tour de force that showcases his remarkable talent and versatility as an actor. Berger’s nuanced portrayal captures the intricacies of Martin’s character, from his initial charm and sophistication to his internal conflicts and moral struggles. Under the expert direction of Luchino Visconti, Berger’s performance adds layers of complexity to the film, heightening the emotional stakes and delivering a gripping portrayal of a man caught in the web of his own desires and the tumultuous backdrop of Nazi Germany.

One notable film featuring Helmut Berger that combines his acting prowess with a visually captivating landscape is “Conversation Piece” (1974). Directed by Luchino Visconti, the film explores the complexities of human relationships against the backdrop of an opulent Roman apartment.

In “Conversation Piece,” Berger plays Konrad Huebel, a young aristocratic art collector who becomes entangled in a tumultuous dynamic with a retired professor, played by Burt Lancaster. The film takes place predominantly within the confines of the professor’s lavishly furnished apartment, which acts as a microcosm for the intricate and often volatile interactions between the characters.

Visconti’s directorial finesse is evident in his expert utilization of the apartment’s grandeur and the surrounding Roman architecture to heighten the emotional impact of the story. The exquisite aesthetics of the film, with its detailed set designs and opulent interiors, mirror the intricate relationships and power dynamics at play.

Against this visually captivating backdrop, Berger’s performance as Konrad is both alluring and enigmatic. He brings a magnetic charm and youthful energy to the character, drawing the attention of both the professor and the audience. Berger’s ability to effortlessly embody Konrad’s complex mix of arrogance, vulnerability, and sensuality adds layers to the film’s exploration of desire, control, and societal expectations.

As the film progresses, the conversations between the characters become increasingly intense, revealing the intricacies of their motivations, desires, and emotional baggage. The tension that builds within the confined space of the apartment mirrors the emotional complexities that arise from their interactions.

Through Berger’s performance, Konrad becomes an intriguing figure who navigates the complex web of relationships, adding an air of mystery and unpredictability to the narrative. Berger’s presence, combined with the visual splendor of the setting, enhances the film’s exploration of human nature, societal norms, and the boundaries of desire.

Other notable films which starred Helmut Berger are “Ludwig” (1972), “The Garden of the Finzi-Continis” (1970), “The Romantic Englishwoman” (1975) and “Dorian Gray” (1970).

As we reflect on Helmut Berger’s extraordinary career, we recognize the enduring legacy he leaves behind. His performances continue to inspire actors and cinephiles, reminding us of the power of storytelling and the profound impact a talented artist can have on the cinematic landscape. Berger’s contributions to the art of acting will forever be cherished, and his body of work stands as a testament to his exceptional talent and dedication to his craft.

Helmut Berger will forever hold a cherished place in the annals of cinema, reminding us of the transformative power of great performances and the lasting impact they can have on our hearts and minds.

The post Helmut Berger: Exploring the Best Roles of a Legendary Actor appeared first on Indie Cinema Magazine.

From unearthing affordable yet high-quality sound recording equipment to scouting the perfect shooting locations for pristine audio, we’ll arm you with practical tips and techniques that will give your film an edge. Embrace the art of capturing clean dialogue, reigning in unruly background noise, and mastering the delicate act of mic placement.

But we won’t stop there. Prepare to venture into the sonic realms of ADR, where dialogue is polished to perfection, and witness the transformative powers of music, foley, and sound design that will transport your audience into new dimensions. We’ll show you how to squeeze every ounce of audio potential from your limited budget, unleashing the sonic powerhouse that will captivate hearts and minds.

Join us on this wild audio adventure, and discover how to create an audio experience that transcends expectations, leaving a lasting impact on your audience. It’s time to harness the untapped potential of film audio and propel your feature film to greatness. Get ready to conquer the world of sound and make your film roar!

Invest in Quality Sound Recording Equipment:

To capture high-quality audio it’s crucial to make informed decisions when investing in sound recording equipment. While budget constraints may limit your options, allocating resources to a few key items can significantly improve the overall audio quality of your film.

1.1. Shotgun Microphone:

Invest in a decent shotgun microphone, as it is the workhorse for capturing dialogue and ambient sounds in film production. Look for a microphone with a good frequency response, low self-noise, and a tight pickup pattern. While high-end shotgun microphones can be expensive, there are also budget-friendly options available that offer solid performance.

1.2. Portable Audio Recorder:

A portable audio recorder allows flexibility and mobility on set, enabling you to capture high-quality audio in various shooting locations. Look for a recorder with good preamps, XLR inputs for connecting microphones, and the ability to record in a high-resolution format like WAV or AIFF. Consider models that offer features such as phantom power and adjustable input levels. Product lines by Zoom and Tascam offer feature-rich audio recorders suitable for all filmmakers.

1.3. Lavalier Microphones:

In addition to a shotgun microphone, consider using lavalier microphones for individual actors to capture their dialogue more precisely. Lavalier microphones are small, discreet, and can be easily clipped onto clothing. Look for omnidirectional or cardioid lavaliers with good sensitivity and low handling noise. Wireless lavalier systems offer greater mobility and flexibility for capturing dialogue in dynamic scenes.

1.4. Accessories:

Invest in essential accessories such as windshields, shock mounts, boom poles, and cables. Windshields, also known as “dead cats” or “blimps,” help reduce wind noise when shooting outdoors. Shock mounts isolate the microphone from handling noise and vibrations. Boom poles provide extended reach when positioning the microphone, and high-quality cables ensure clean and reliable signal transmission.

1.5. Renting or Borrowing:

If purchasing adequate equipment is not feasible within your budget, consider renting or borrowing from fellow filmmakers or local equipment rental houses. This allows you to access higher-end gear that may be otherwise unaffordable. Be sure to plan your production schedule accordingly to make the most of your rental period.

Quality sound recording equipment is essential

Professional sound recording equipment is an investment in the overall quality of your film. Research different options, read reviews, and compare prices to make informed decisions that align with your budget and production needs.

Note: In addition to the equipment itself, be sure to budget for additional items such as batteries and memory cards to support your sound recording needs throughout the production process.

Choose Optimal Shooting Locations:

When scouting for shooting locations, prioritize places with good acoustics and minimal background noise. Selecting quieter environments will save you time and effort during the audio post-production stage, reducing the need for extensive noise reduction and cleanup. Here are some considerations to keep in mind when choosing optimal shooting locations:

2.1. Acoustics:

Pay attention to the acoustic properties of the locations you scout. Look for spaces with favorable acoustics that complement the desired mood and atmosphere of your scenes. Spaces with natural reverb or unique sonic characteristics can add depth and richness to your audio. Avoid locations with excessive echo or reverberation that can muddy the sound.

2.2. Background Noise:

Identify potential sources of background noise that could interfere with your audio recordings. Choose locations away from busy roads, airports, construction sites, or other sources of significant noise pollution. Even seemingly quiet environments can have unexpected noise issues, so listen carefully during your location scouting process to detect any potential problems.

2.3. Control:

Consider the level of control you have over the shooting location. Indoor settings generally offer more control over ambient noise and acoustics compared to outdoor locations. However, if shooting outdoors is necessary for your story, plan your production schedule to minimize noise disruptions, such as avoiding rush hour or noisy times of the day.

2.4. Permissions and Restrictions:

Ensure that you have the necessary permits and permissions to shoot in your chosen locations. Some locations may have specific restrictions on noise levels or require additional permits for using sound recording equipment. Familiarize yourself with local regulations to avoid any legal issues and ensure a smooth production process.

2.5. Location Tests:

Conduct location tests to assess the audio characteristics of potential shooting locations. Bring your sound recording equipment and perform sample recordings in different areas of the location. Listen back to the recordings to evaluate the ambient noise levels, reverb, and any potential sound issues. This will help you make informed decisions about which locations will yield the best audio quality for your film.

Capture Clean Dialogue:

The dialogue is the backbone of your film’s audio, so ensure it’s recorded as cleanly as possible during production. Use a shotgun microphone and position it as close to the actors as feasible without interfering with the frame. Consider using lavalier microphones for individual actors to capture their dialogue more precisely.

3.1. Positioning:

Proper positioning of the microphone is essential for capturing clear and intelligible dialogue. Use a shotgun microphone for capturing dialogue from a distance or a lavalier microphone for individual actors. Position the microphone as close to the actors as possible without interfering with the frame. Experiment with microphone angles and distances to find the sweet spot that captures the dialogue with clarity while minimizing unwanted background noise.

3.2. Boom Operator:

If using a shotgun microphone, assign a skilled boom operator to handle the microphone on set. The boom operator’s role is to follow the movement of the actors, maintaining consistent audio levels and capturing the dialogue effectively. Train your boom operator to anticipate and adjust for changes in actor positions, ensuring the microphone is always optimally placed for capturing clean dialogue.

3.3. Room Tone:

Capture room tone at each location to serve as a reference for post-production audio editing. Room tone is the subtle ambient sound present in a location when no dialogue or other significant sounds are occurring. Recording a few seconds of room tone allows you to recreate the background ambience accurately during editing, resulting in seamless audio transitions.

3.4. Multiple Takes:

Having multiple takes of critical dialogue scenes ensures you have plenty of material during the editing process. Even if a take appears satisfactory on set, recording additional takes provides a safety net and allows for variations in performance. This flexibility can be beneficial during post-production when selecting the cleanest and most impactful dialogue tracks.

Control Background Noise:

Excessive background noise can significantly affect the overall sound quality of your film. To ensure clean and professional audio, it’s essential to proactively control and minimize background noise during production. Here are some techniques to help you achieve better control over background noise:

4.1. Time Management:

Plan your shooting schedule strategically to minimize noise disruptions. Avoid shooting during peak hours or times when noise levels are typically higher, such as rush hour. If shooting in an urban area, consider early mornings or late evenings when the ambient noise is generally lower. Carefully manage your shooting time to take advantage of quieter moments.

4.2. Sound Blankets and Panels:

If you find yourself in a challenging acoustic environment, you can create makeshift sound barriers using sound blankets or foam panels. Sound blankets, also known as moving blankets or acoustic blankets, can be hung on walls or draped around the set to absorb or block out unwanted noise. Foam panels can be placed strategically to reduce echo or reverb in a room. While not a perfect solution, these materials can help minimize background noise reflections and improve audio quality.

4.3. Noise Reduction Tools:

Consider using noise reduction tools during post-production to address any residual background noise. Software plugins and audio editing applications often include noise reduction algorithms that can help mitigate noise issues. However, it’s important to note that while these tools can be helpful, they are not a substitute for capturing clean audio on set. The goal is to minimize the need for extensive noise reduction in post-production by controlling background noise during production.

Utilize Proper Mic Placement:

Proper microphone placement is crucial to achieving optimal sound quality. Train your boom operator to position the microphone correctly, following the movement of the actors and maintaining consistent audio levels. Experiment with different angles and distances to capture the best possible audio while avoiding unwanted shadows. Here’s an in-depth exploration of mic placement techniques to help you achieve optimal audio results:

5.1. Boom Microphone Placement:

A boom microphone is commonly used to capture dialogue and ambient sounds on set. When positioning a boom mic, aim to get it as close to the actors as possible without being in the camera frame. Position the microphone just above or slightly in front of the actors, pointing towards their mouths to capture clear and direct sound. The boom operator should be trained in mic handling techniques to minimize any handling noise while keeping the microphone steady and correctly positioned.

5.2. Lavalier Microphone Placement:

Lavalier microphones are small and discreet, they can be clipped onto the actors’ clothing, usually near the collar or lapel area. If you wish to hide the mic completely, it can also be applied with tape underneath clothes. Ensure the microphone is secured tightly to prevent any movement or rustling noises. Take care to hide the microphone and cable as much as possible to maintain the visual aesthetics of the scene.

5.3. Microphone Placement for Group Scenes:

When recording dialogue in group scenes, it’s important to ensure that each actor’s voice is captured clearly. Depending on the scene’s setup, you may need to use multiple microphones or a combination of boom and lavalier mics. Position the microphones strategically, taking into account the actors’ placement and their respective roles in the scene. Experiment with different microphone placements and angles to achieve a balanced and natural sound mix.

5.4. Microphone Placement for Ambient Sounds:

In addition to capturing dialogue, your film may require capturing ambient sounds, such as footsteps, environmental sounds, or room tone. For these instances, consider using a combination of boom mics, specialized microphones, or a field recording setup. Position the microphones close to the source of the sound to capture it accurately while minimizing unwanted background noise. Experiment with different microphone types and placements to capture the desired ambience effectively.

5.5. Monitoring and Adjustments:

Throughout the recording process, it’s important to monitor the audio levels and quality to ensure optimal results. Use headphones or audio monitors to listen to the captured sound and make adjustments as necessary. Pay attention to any distortion, clipping, or inconsistent levels and adjust the microphone placement or sensitivity accordingly. Clipping results when the audio signal exceeds the maximum recording level, resulting in distorted and unusable audio. Regularly check the audio equipment for any technical issues that may affect the sound quality.

5.6. Experiment with Mic Distance and Angles:

When placing microphones, consider the distance and angle from the sound source. Different microphone positions can result in variations in sound quality and character. For example, placing a microphone closer to the sound source can capture more direct and intimate sound, while positioning it further away can create a more ambient and spacious sound. Experiment with different distances and angles to find the optimal placement that suits the specific scene and desired audio aesthetic.

5.7. Use Windshields and Shock Mounts:

Outdoor shoots or locations with air conditioning or wind can introduce unwanted noise and disturbances to your audio recordings. To combat these issues, use windshields or furry covers over your microphones to reduce wind noise. Additionally, consider using shock mounts or suspension systems to isolate the microphones from handling noise or vibrations caused by camera movements or footsteps. These accessories can significantly improve the quality of your audio recordings.

5.8. Consider the Shot and Blocking:

When planning microphone placement, take into account the camera angles, blocking, and movement of both the actors and the camera. Avoid placing microphones where they may be visible in the frame or obstruct the actors’ movements. Work closely with the director of photography and the camera department to find a balance between capturing clear audio and maintaining the visual aesthetics of the scene.

ADR for Critical Dialogue:

ADR, or Automated Dialogue Replacement, is a post-production technique commonly used to re-record dialogue in a controlled studio environment. It is particularly useful for capturing critical dialogue lines that were compromised during the production phase due to technical issues, background noise, or other factors. ADR allows you to ensure the clarity and quality of essential dialogue scenes in your film. Here’s an in-depth exploration of ADR and how to effectively utilize it:

6.1. Identifying the Need for ADR:

During the editing process, carefully review your footage and identify any dialogue lines that are difficult to understand, have excessive background noise, or are compromised in any way. It’s crucial to prioritize ADR for critical dialogue moments that are essential to the story or character development. Additionally, consider re-recording lines for scenes where the original audio quality is significantly poorer than the rest of the film. ADR provides an opportunity to enhance the overall audio production value of your film.

6.2. Setting Up an ADR Session:

Once you’ve identified the lines that require ADR, schedule an ADR session with the actors involved. Find a suitable recording studio or a quiet and controlled environment for recording. Prepare the script or dialogue lines in advance, ensuring that the actors have sufficient time to familiarize themselves with the lines and perform them convincingly. Collaborate with the sound engineer or ADR supervisor to ensure the setup and technical aspects are in place for a smooth recording session.

6.3. Matching Lip Sync and Performance:

During the ADR session, the actors will watch the footage of the scene and synchronize their re-recorded dialogue to match the lip movements and performance captured during the original filming. This process requires careful attention to detail and coordination between the actors and the ADR supervisor. The goal is to achieve seamless integration of the re-recorded dialogue with the existing visuals, ensuring that the lip movements and timing appear natural and convincing.

6.4. Creating a Suitable Acoustic Environment:

To ensure consistent audio quality and a controlled recording environment, the ADR session should take place in a well-treated recording studio or a space with minimal ambient noise and reverberation. Acoustic treatment, including soundproofing and acoustic panels, helps create a neutral and controlled environment that closely matches the original filming conditions. This reduces the likelihood of audio discrepancies between the ADR lines and the rest of the audio elements in the film.

6.5. Using Proper Microphone Technique:

During the ADR session, use high-quality microphones and proper microphone technique to capture the actors’ performances accurately. Consider using a microphone that matches the characteristics of the original recording microphone to ensure consistency in sound quality. Position the microphone appropriately, ensuring a consistent distance and angle from the actor’s mouth to maintain consistent tonal quality and capture any subtle nuances in their delivery.

6.6. Providing Clear Direction and Feedback:

As the director, it’s crucial to provide clear direction and feedback to the actors during the ADR session. Help them understand the emotional context, delivery style, and character motivations to ensure the re-recorded dialogue matches the intended performance. A collaborative and supportive atmosphere will enhance the actors’ performance and the overall quality of the ADR.

6.7. Seamless Audio Editing and Mixing:

After the ADR session, the re-recorded dialogue needs to be seamlessly integrated into the film’s audio mix. Work closely with the audio editor and sound mixer to ensure smooth transitions between the original audio recordings and the ADR lines. Pay attention to matching the audio levels, tonal qualities, and spatial characteristics to maintain a cohesive and natural audio experience. The final audio mix should blend the ADR seamlessly with other sound elements to create a cohesive and immersive audio experience for your film.

6.8. Quality Control and Accuracy:

Once the ADR lines have been integrated into the audio mix, conduct thorough quality control checks to ensure accuracy and synchronization. Review the ADR scenes multiple times, paying attention to lip sync, performance consistency, and overall audio quality. Make any necessary adjustments to ensure that the re-recorded dialogue seamlessly matches the visual cues and maintains the intended emotional impact of the scene.

6.9. Maintain Consistency:

Throughout the ADR process, it’s important to maintain consistency in the audio production. This includes matching the tonal qualities, room ambience, and overall audio characteristics of the original recordings. Consistency helps create a seamless and immersive viewing experience for the audience, where the ADR lines blend seamlessly with the rest of the audio elements.

6.10. ADR Alternatives:

While ADR is a powerful tool for enhancing critical dialogue, it’s worth considering alternatives if the budget or resources are limited. These alternatives include using audio restoration techniques to salvage and improve existing audio recordings, creatively editing and manipulating the original audio to enhance clarity, or utilizing Foley effects to enhance specific sounds or add depth to the audio mix. Assess the specific needs of your film and make informed decisions on whether ADR is the most viable option.

6.11. Practice and Experience:

The process of ADR requires practice and experience to achieve optimal results. As you gain more experience in working with ADR, you’ll develop a better understanding of the nuances involved in matching performance and achieving seamless integration. Learn from each ADR session and apply those lessons to future projects, refining your approach and techniques along the way.

Continue reading: The Art of Affordable Sound: Achieving Professional Audio in Low-Budget Filmmaking – Part 2 — http://indie-cinema.com/2023/05/the-art-of-affordable-sound-achieving-professional-audio-in-low-budget-filmmaking-part-2/

Are you a passionate filmmaker with an interesting and captivating film that deserves to be seen by a wider audience? The Prague Independent Film Festival invites you to submit your exceptional work and be a part of a prestigious platform that celebrates independent cinema.

http://www.prague-film-festival.com/

The post The Art of Affordable Sound in Low-Budget Filmmaking – Part 1 appeared first on Indie Cinema Magazine.

Francis Han is a young director from United States. Francis studied at Ringling College of Art & Design in Florida. His latest short film is about an anti-social apartment manager who purchases a video game from a flea market but discovers the horrific cost to stop playing. The noir-style thriller attracted our attention and we asked Fransis Han some questions about his film.

Synopsis

An elder game seller’s daughter is suffering an unfair rental increase from the apartment
manager, Sam. In order to punish the mean Sam and take revenge for his daughter, the elder
seller lures Sam to steal the 503 game discs. After Sam tries to pass the game, he begins to
realize that he has fallen into an elaborate trap and can’t escape.

Director Statement by Francis Han

“503” is about the elder seller’s revenge. Sam‘s negative attitude and absurd lifestyle lead him
into a state of fear and force him to suffer the consequences. On the other hand, “503” is a
realistic movie, which explains how fear comes from oneself.

How did you come up with the story? What inspired you?

I used to really like the 90s video games. I tried to bring the 90th video game visual into a horror film. Then, a withdrawn, self-destructive man Sam, was born in my brain. With Sam as the main character, I completed my horror film script 503. 

How did you find the actors?

My Professor recommended George Ross Bridgman for the elder seller, When I watched his reel, I immediately made the decision, he was the person I was looking for. We posted our casting call for Sam and Mary on some different platforms, and after more than twenty interviews, we chose Patrick Burkard as Sam and my classmate Numa Khandwani as Mary. Their excellent performance uplifted this film!

What were the biggest challenges when filming?

Time! Time is the biggest enemy for filmmakers. We never had enough time to capture enough footage during production, and when we were shooting in exteriors we chased the sunlight. So, I must say that a reasonable shooting schedule is key, and I must be very flexible during production.

The original intention of shooting 503 was that I wanted to integrate different majors.
503 is a film-noir, many classic techniques are utilized in the film, such as entrapment
and doppelganger shadows. However, there are many new experiments such as
warmer colors, higher saturation, and pink skin tone. I believe these experiments are
successful and resulted in a distinctive visual effect.

What has your experience been studying at your college? How much of an input did your college supervisors have in your film?

I miss my Ringling College all the time. In college, I learned about film more in-depth and met many filmmakers. My professors have done a lot for my film 503. They gave me a lot of suggestions for my script and supervised the entire production process. I must say without them, my shooting process would have been brutal.

What is your dream project?
I dream of making a drama set in the late 19th century. I think the industrial age is fascinating.

What made you want to become a film director? Who are your favorite film directors?

I wrote and directed my first short film, Broken Again, during high school, a two-minute black and white silent film. Then I fell in love with filmmaking and decided to become a film director. Many film directors influenced me. It is hard to say my favorite one. Ma-Xu Weibang is in my top 5 for sure. He was the first generation of Thriller directors (20s–40s). He was a man who connected the cinema between East and West.

The post Interview with director Francis Han appeared first on Indie Cinema Magazine.

Finnish producer and director Diana Ringo has released the official trailer for the film “1984”. This is the first film adaptation of Orwell’s novel in Russian language. The premiere is scheduled for summer 2023.

George Orwell is one of the most influential authors in human history, and his novel “1984” is a warning of dangers of social conformity and the possible rise of totalitarian police state. In 1984, Michael Radford directed the last film adaptation of the novel.

Plot:

The film shows the gloomy future of mankind – a totalitarian state, where the almighty and mysterious Big Brother is at the head of the state. This is a de-humanized society of total control, disinformation. Hatred of the enemies of the people is being cultivated, art and independent thinking are being destroyed. The protagonist is a mathematician who has devoted himself to science. His life changes dramatically when he meets a girl from the art department. From her, he learns that there is a Resistance that is preparing a coup d’état. He is faced with a choice – to join the resistance or betray his members.

Director Diana Ringo:
“I read Orwell’s novel in my youth, and have long wanted to film it. Now people in many countries rediscover this novel, consider it from different points of view. I wanted to give my own interpretation. The film also contains references to Yevgeny Zamyatin’s novel “We” which greatly influenced Orwell’s work. If we follow the development of the plot in both books, we can see that they are similar in many ways. I did not want to make a 100% accurate adaptation of “1984”, I decided to rethink the novel from the perspective of today. Alienation, isolation, loneliness, and the enslavement of man are important themes of my film. It was also important for me to create interesting images and an impressive musical score. I wrote all the music for the film myself. My film has a strong message for anyone who thinks total suppression of the society will lead to permanent authoritative rule. The harder the government oppress citizens, the more resistance is bred.

The cast includes:
Aleksandr Obmanov, a young actor from Volgograd, plays the role of the mathematician protagonist. He played earlier in Diana Ringo’s previous film “Quarantine”.

Alexey Sharanin, a popular actor, musician and TV presenter, plays the author of Newspeak, a language whose vocabulary shrinks every year.

One of the most sought-after male models in Russia, Alexei Shamaev, plays the role of the television announcer in the film. This is his film debut.

Filming began in the summer of 2022 in Moscow.

Cast: Aleksandr Obmanov, Diana Ringo, Alexey Sharanin, Vladislav Kuvitsyn, Sergey Budanov, Anton Biryukov, Sergey Nikitin, Vladimir Ivany, Alexey Shamaev, Ilya Droznin and others. The music for the film was written by the director of the film, Diana Ringo.

The previous film by Diana Ringo is the anti-utopia “Quarantine” (2021) starring Anatoly Bely, Honored Artist of the Russian Federation. The film was a success at various international film festivals and was a non-English language entry at the 2022 Golden Globes.

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Sports drama “Playing Through” tells the fascinating true story of Ann Gregory, a pioneer and trailblazer who was the first black woman to play in a United States Golf Association Tournament.

The film stars Andia Winslow as Ann Gregory and Julia Rae as her competitor Babs Whatling. They give extremely convincing performances and it is difficult to believe that they both have never acted before; Winslow being a professional golfer and Rae a singer and songwriter. Andia Winslow has a strong and dignified presence and gives a powerful portrayal of Ann Gregory. Also noteworthy is actor Ronnie Blevins who gives a solid turn as conniving and weasely Bucky Calhoun who wants to make sure Babs will win, no matter the cost involved.

“Playing Through” was directed by Polish-American director Balbinka Korzeniowska and it was written for the screen by Curtis Jordan. The film features stunning and vibrant cinematography by Paul Cannon.
“Playing Through” chiefly concentrates on the USGA Women’s Amateur match between Ann Gregory and a privileged southern white golfer Babs Whatling.

Ann Gregory born on on July 25, 1912 in Mississippi. She was orphaned at the age of 4 due to a horrific car crash which killed both of her parents. Gregory married at the age of 26 and only started playing golf when she was 31 years old. She was 44 years old when she played the USGA tournament.

Korzeniowska creates a convincing sense of the time and place while the golf sequences are impressively filmed. The athleticism of the lead actors shines through. The film is tense and exciting to watch, and is one of the best sports dramas to be released in recent years. Both of the lead characters are sympathetic and well-written.
The inspirational and important picture shows the inner strength of two very different women and their fight to be taken seriously in their career and by the society, despite the institutionalized racism and misogyny of 1950s America. It shows strong women who do not bow down to society’s expectations and manage to hold on to their individuality. The match ends up also being a journey to self-discovery for the pair who is pitted against each other by the racist public. The film is extremely current and revelatory.

“Playing Through” will be of interest to those serious about golf and also to the casual observer due to its entertainment value and warm heart.
The prototype of the character Babs Whatling is Curtis Jordan’s mother, golfer Josephine “Dadie” Knowlton Jordan, who competed in real life against Ann Gregory.

Writer’s Statement
Playing Through is a feature film about Ann Gregory. Ann was the first black woman to play in a United States Golf Association Tournament. She was a groundbreaker in both sports and civil rights. It is a fictional story that celebrates Ann’s life, a life long deserving of this spotlight.

This is a sports story that tells of the human condition to succeed and be self expressed. It’s a story about two driven and highly competitive women struggling to be the individual they want to be regardless of who the world around them wants them to be. These women come from very different back grounds, the world around them will never allow them to be friends but over the course of this match they learn to respect each other, understand each other and because of that they support each other.

These two characters (Ann and Babs) tell a story about the desire to exist fully, equally and authentically. Both Ann and Babs were willing to risk a life of certainty and conformity in order to chase their dreams. They refused to be spectators in life. Neither were going to comply to the expectations of others. In 2022 breaking the chains of conformity is not easy, in the 50’s it was almost impossible.

Andia Winslow (Ann) and Julia Rae (Babs) were chosen as the two leads. Neither of these women had ever acted before. Andia had been a collegiate golfer at Yale and was now an award winning voiceover actor. Julia was a talented golfer in her youth. Now she was a successful singer/songwriter with some experience on television.
The success of this film is due to the hard work and performance these two women delivered. With the help of director Balbinka Korzeniowska these women not only exceed our expectation of them on camera but they were instrumental in structuring the action and dialogue to make the story better.

Unknown to the producers at the time of choosing Andia, she was friends with Ann Gregory’s family. Through Andia, the Team got to know Ann’s family. This proved to be of great historical benefit as well as a real connection for Team to the story. We have had some very heartwarming and funny conversations over that past several months.
Both Ringling College of Art and Design as well as The Westcoast Black Theatre of Sarasota became the primary partners on the production. Each of these performing arts centers provided cast, crew and facilities for the production.

Director Balbinka Korzeniowska

Balbinka is a writer / director who has worked in the entertainment industry for over 13 years. She’s been in front and behind the camera and in 2016 received her MFA in Directing from UCLA in 2016 where she was nominated for a Student Academy Award for her film, “Awaken”. Balbinka has shot and is now editing a documentary “The Intimacy of War”. It follows Ukrainian refugees as they settle in Poland.

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“The Road to Galena” is a heart-stirring and compassionate drama about the importance of following your dreams, despite what society may dictate, by American director Joe Hall. We are glad to interview director Joe Hall.

What are the films which have inspired you to become a film director? Did you always want to become a film director or did you have other ambitions before?

I developed an early appreciation for theater and film watching classic movies as a child, inspired by the story-telling of great directors such as Frank Capra, John Huston, and Robert Redford. Films like It’s a Wonderful Life, and Redford’s The Milagro Beanfield War, captured my imagination as they shared powerful stories of regular people.
My path to filmmaking was non-traditional. Having always had a passion for the art, I missed the opportunity for academic training in the subject and launched my career in film by starting a production company with the intent to learn the craft through hands-on experience. I’d been fascinated by short films for many years and turned to the format to hone my skill-set in directing and producing — and to build a community that would serve as a foundation for larger projects. My first film, The Toast, written by my sister, author Susan Pohlman, went on to win a best director TIVA Peer Award. I was hooked. We proceeded to shoot six shorts, among them, Matilda Mench, which won the Cine Golden Eagle for Independent Short.

What was the inspiration behind The Road to Galena?
Too many of us spend our lives driven by societal definitions of success — many holding their passions quietly inside, some for a lifetime. When I wrote The Road to Galena, I thought it would be more compelling if the hero’s aspiration was not wealth, fame or power — but a sense of place, community and purpose. The notion of giving up the trappings of material success for something meaningful seemed a more challenging decision — and a new way to frame the issue. In the film, there are no villains; every character is likeable or dislikable subject only to their circumstances — to include City Life vs. Rural Life or Big Business vs. Small. None are inherently good or bad, they are merely right or wrong in the context of our individual aspirations. In this post-COVID environment, when so many have taken the opportunity to reassess their own life journeys, it seemed the appropriate moment to share this story.

How did you get your film into production?
After several years of effort, one conversation tipped the domino that led to production of The Road to Galena. I was having lunch with a mentor and sharing the latest update on our film — we had again run into a financing hurdle and were looking at another reboot. After hearing my long-winded tale of woe, my colleague leaned forward and whispered, “I know what your problem is.” “Lay it on me,” I said. He replied, “You’ve spent the last several years solving a financial equation. Every time a variable falls out of that equation, you start rebuilding the formula from scratch. Stop trying to solve an equation and just make the movie.” I realized in that moment that we had indeed been letting our target budget drive our process. We, instead, looked at the resources available to us, revised our production to suit, and the rest fell into place.

How did you find the cast for your film, did you have a casting director or did you already know the actors?
Our casting directors, Steve Vincent and Sig De Miguel, were pivotal in identifying and securing the ensemble. Our first task was to cast the part of “Cole Baird,” as the story revolves around his journey. After having spoken with a large number of very talented actors, we chose Ben Winchell as he displayed a deep understanding of the character. Will Brittain had originally auditioned for the part of “Cole,” but early in our conversations, we both agreed that the part of “Jack Miller” was meant for him. With the two lead actors secured, the rest of the cast fell into place. Aimee Teegarden, Alisa Allapach, Jay O. Sanders, Jill Hennessy, Margaret Colin — all talented, veteran actors — brought insight and camaraderie to the production. Multi Tony- and Grammy-winning artist Jennifer Holliday was the last to join the cast as “Florrie,” and we were thrilled that she chose The Road to Galena for her big-screen debut.

How long was the shooting period and the post-production period?
We greenlighted the project in January of 2020 and began to assemble the production leadership with an eye toward an early-autumn shoot. COVID hit in March and we paused until June, at which point we felt we could shoot it safely and take advantage of the industry stoppage to secure great talent. Three weeks ahead of our planned start, COVID cases spiked so we opted to push to April 2021. We used the delay to film seasonal b-roll footage that ultimately was helpful in conveying the passage of time on screen. The six-week shoot started April 1 and we wrapped May 15. Moving immediately into post, we locked the edit, completed the color grading, sound design, score and original songs by late September and were prepared to deliver the final picture by year-end.

What were the greatest challenges when you were making the film? Are there any interesting stories or details from behind the scenes?
The Road to Galena spans twenty years and many different locations, which resulted in a complex production schedule, sometimes involving different time periods on a single shooting day. The biggest challenge, however, was shooting during the height of the COVID-19 Pandemic. There were SAG and other protocols that added expense and inconvenience, but the biggest impact was in securing extras — each of whom had to have a PCR test result within 24 hours of coming to set (which was complicated further by the remote shooting locations which required background actors to drive nearly an hour to get the test). Even with negative test results, creating crowded scenes was always difficult as we were limited on the number of people that could be on set at any given time. We compensated by periodically enlisting crew as extras, adjusting camera placement and relying on sound design.

How did the finished film change from your original idea?
While we ultimately cut or edited some scenes that we felt, in post, weren’t necessary to drive the story forward, the film reflects the script as written — and subsequently brought to life by our remarkable cast and crew. Having conceived the characters, I knew them intimately as I’d lived with them for years. Our actors, however, became the characters, portraying them in a way that was informed by their own life experiences. The result enriched the story and led to insights I’d never envisioned.

What keeps you motivated as a filmmaker? What advice would you give to beginner filmmakers?
Like great books and music, film has the ability to captivate an audience — whether for entertainment, distraction or introspection. But unlike those other media, which tell stories but leave it to the reader/listener to visualize them in their own minds, cinema offers the filmmaker the nearly limitless opportunity to convey their vision of the story, brought to life through a remarkable collaboration of creative talent from every corner of the industry. Ask anyone the name of their favorite movie and they’ll start with one, then add three, four or five others that also hang with them — whether they were seen five years ago or fifty. Cinematic story-telling is lasting and universal.
The technological advances in filmmaking and distribution have, I believe, made filmmaking far more accessible. Financing, of course, is a reliable foe for independent filmmakers, but the tools required to bring beautiful imagery to the screen have lessened in cost and the variety of outlets have increased opportunities to share one’s work with a broad audience. Ultimately, grit prevails. My advice to new filmmakers: just never give up.

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The film “Blonde” is so disgusting and disrespectful, talentless and vulgar, that, from my point of view, everyone who made it it is covered with dirt until the end of life, including film director, producer, lead actors.

The film is not based on facts, but on sheer lies, which have nothing to do with life of Marylin Monroe, JFK, Cass Chaplin or other real people depicted in the film. It is really sad, that someone can watch this trash and assume, that it is based on real events. No, it is not. It is just another attempt to spit on a grave of an actress. To destroy the truth and to create another reality, which must replace history. And future generations, especially those people, who are not well informed, will judge Marilyn after this trashy film.

Marilyn is still an icon 60 years since her death. People still love watching her films. Not only she is physically attractive but she also personifies vulnerability and sensuality all in one. Her songs were made into so many covers and yet no one can sing them as beautifully as she did. Her best films such as masterpiece “Some Like it Hot” still make people laugh as no other films can.

She was sexy but never vulgar. And film Blonde is a quintessence of vulgarity and bad taste, full of pornographic images and events which never happened.

No, there were no threesomes with Cass Chaplin and Marylin. There was no murder attempt by Marylin’s mother. In the beginning of the film, Marilyn’s mother, Gladys Baker, tells her daughter, that her father was a famous actor, and it is hinted, that Clark Gable was her father. Gladys is inaccurately portrayed as a lonely mad woman, while in real life she was married three times and had three children. Marilyn even continually kept contact with her sister Berniece.
Cass Chaplin did not write to Marylin letters pretending to be her father. Unlike in the film “Blonde”, he also died several years after Marilyn did.

And Marilyn knew who her real father was. Her father was RKO Studios employee Charles Gilford, she tried contacting him he refused connect with her. However, after many years have passed, he contacted her from a hospital bed, but Marilyn no longer had any interest in knowing him.

A scene where Marilyn performs oral sex on John Kennedy, while he is speaking on the phone is the most appalling. The film suggests that John Kennedy kidnapped Marylin who was under the influence of drugs. After oral sex with disinterested in her JFK, Marylin vomits. The scene is not only insult to MM but also to the former president of USA, one of the best and most admired presidents of all times, who should have been treated in a respectful way. John Kennedy was never a rapist and was probably one of the most charismatic men in politics. By the way neither the film director, nor the lead actors are Americans and with this film they prove that they have no respect towards American history.

Why to cast Ana de Armas, a Cuban actress with Cuban accent and Hispanic look to play a blue-eyed American icon with a Nordic look? Why make a President look like a rapist and spread vicious lies about him?

Director Andrew Dominik did not even attempt to hide his zero interest in Marylin personality nor her films. He said that before this project he did not watch her films and even called the film “Gentleman Prefer Blondes” a film about well-dressed whores. Using his own language, we can call the film “Blonde” a film about an undressed whore. Nothing more. A cheap Cuban whore from Havana Street who wants to earn more money by pretending to be the Blonde.

It ridicules and mocks the gentle movie star and tries to sling as much dirt as possible.

However it is probable that it is not just the bad taste of a film director obsessed with perversion, but maybe it is a task which he obediently fulfilled – to throw dirt at a leftist Monroe. ”She told us about her strong feelings for civil rights, for black equality, as well as her admiration for what was being done in China, her anger at red-baiting and McCarthyism and her hatred of (FBI director) J. Edgar Hoover”, wrote Frederick Vanderbilt Field, whom Marylin visited in Mexico few months before her death.

Against the sexist “dumb blond” image of Monroe created by the Hollywood machine and exploited again in “Blonde”, her real life reveals an intelligent and sensitive woman who read lots of serious books, and was involved in politics and social issues. Her house was wiretapped by FBI and CIA and she was surrounded by people spying on her, for example Eunice Murray, her housekeeper. None of these important facts are reflected in the film.
Monroe’s sympathy for anti-capitalist and anti-imperialist struggles still bother the dark forces which now have conquered all the world.

Perhaps this film is not just a fruit of sick imagination, but a well-planned commission — an act of character assassination and discreditation. This hackjob has several tasks — to destroy a pride of American cinema, to crush the bright image of John F. Kennedy and to make people forget real facts. It is easy to shit on an icon and slander someone who cannot defend themselves from the grave.

The film “Blonde” has horrendous dialogues, terrible acting, the cinematography is boring and often inept. Marilyn as portrayed by Armas, calls all husbands Daddy as if she has nothing else to say. A big part of the film depicts embryos shown on the screen speaking with the protagonist. Another disgusting moralistic scene is in the movie theatre where a foetus tells Marilyn “and for this you killed me?”. Is it anti-abortion propaganda or something else? Seems well-timed, as America attempts to take away the basic right to make an abortion. A scene where Marilyn attempts to escape from the abortion chair is completely ridiculous and unrealistic.

All acts of the Blonde are stupid and senseless. The film is very long and very depressive. Films where Marilyn played were full of humour, charisma, featured beautiful singing and dancing. None of that is reflected in the film.
And this piece of trash full of disgusting pornography was screened at Venice Film Festival and received a 14-minute ovation! What a joke. The festival which used to screen films of Bergman, Tarkovsky and Antonioni, screens a cheap sadistic porno, a spitting to the icon of cinematography.

Shame on you, selection committee and jury. Shame on Netflix. Shame on you, producer Brad Pitt. You have fallen really low.

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“Mom Dies Saturday” is a psychological drama involving loss, guilt and toxic family relations. The main character faces a significant moral dilemma after the death of an immediate family member. And most importantly this is a story about monstrous hypocrisy in relation to unconditional love for the mother.

SYNOPSIS

The plot of the movie is set around the events surrounding the death of the mother of the main character, Karol and his decision to get the money of the deceased without informing his family or the officials about it. As his mother dies – as the title says – on Saturday, Karol comes up with a plan to withdraw the money from the account on Monday before the death certificate is sent to the bank, which will prevent him (as an attorney for the account) from taking the funds.

DIRECTOR STATEMENT

The author of the original story is my close friend Rafał Niemczyk, who in 2015 published a book of the same name. The film’s script was based on the book. As soon as I finished reading “Mom Dies Saturday”, I knew immediately that it was the perfect material for a short film. In the process of making the film, starting from the first pages of the script till the last day of post-production, I wanted to create a film which let the audience to draw their own conclusions.
When we take into account the toxic family and all the other factors that occur in this story, I believe that Karol is not necessarily a bad person, despite the fact that he goes to do something which is seen as morally adverse. As an outside observer, it is always easy to be judgemental of someone’s actions in a difficult situation, but when we ourselves are in the midst of an overwhelming problem, nothing is ever so simple.
Before I started the production of “Mom Dies Saturday”, it seemed to me that after watching over 5k films I would not have any problems with any element that depends on me. What could have gone wrong? Virtually every shooting day there were events that could have influenced whether the film will be made at all. After 2 weeks of post-production, I completely lost my distance to the material and had no idea if what we already had was great or tragic. On the other hand, when we finished editing, we sat with Rafal for days and wondered if this story would be comprehensible to the viewer. Creating movies is an amazing challenge and a very demanding passion. Making “Mom Dies Saturday” has made me more humble than ever in the last 20 years of my life. But when I saw it on the big screen, in the exact same theater where I saw The Matrix at 16, I only thought one thing:
I’ll never stop doing this.

DIRECTOR BIOGRAPHY

Damian Matyasik was fascinated by cinema and video games from an early age. When at the age of twelve Matyasik saw “Terminator 2” by James Cameron he became crazy about filmmaking. He promised himself that he would be making films one day. Less than 3 years later, he was the editor of one of the largest video games magazines in Poland. Before the age of 25, Matyasik won 26 national and international tournaments in video games (mainly the Tekken and Soul Calibur series). Considering the complete lack of financial and artistic support and the lack of knowledge on how to obtain it, the dreams of making films were suspended until further notice. After more than a decade of working in the video games industry, Damian was constantly thinking about films. After overcoming many adversities and obstacles, he finally kept his promise which he made to himself 20 years ago. It was always cinema that fascinated him the most and it still remains his greatest passion.

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More art by Diana Ringo —

https://www.saatchiart.com/dianaringo

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Indie Cinema Magazine 5

By Diana Ringo

28 pages, published 10/4/2022

Indie Cinema Magazine is the leading source for film news.

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