THE BEGINNING

It is curious to reflect on my initial objective… I think the idea was there all along, it just took time and refinement for the crap to settle and the good stuff to rise.

To find new approaches in my current methods of filmmaking by utilizing some of the practices and critical thinking behind abstract filmmaking.

Upon reflection it wasn’t so much the intention that changed, it was the how/process that evolved. The early stages of the idea was in attempts to appease myself as a narrative filmmaker while trying to explore an abstract medium.

Over time my interest but conflicted respect for the fine art approach to the film medium has developed. The final product often first appears as wanky, egotistic or undeveloped but after closer reflection (and less judgment) it is more often an artists’ critical investigation of a particular idea.

A rocky start but eventually I was able to pin point my intention into ‘appreciating how an audience interprets what they see on screen’. This was and still is an exciting concept for me and feel there will be constant learning on this subject. Finally, I was able to concrete this broad intention into an achievable reasearch question

“How far can we push the audience until they stop connecting the dots?”

THE MIDDLE

For sometime I’ve had the imagery of a washing machine spinning white laundry, tainted by a piece of red fabric. Where it came from, who knows, but I knew one day it would serve a purpose. After ruminating on the possible symbolism of this imagery I eventually developed a character and story. Next was to consider how this person and their world could be conveyed through symbolism/imagery and thus the petri dish concept was born.

So how did I attempt to answer my research question? With both a practical and a research approach. Through research I looked at similar work from other filmmakers both independent and Hollywood and also took inspiration from abstract bodies of work. This helped me appreciate the various and diverse forms other creative people have used to communicate an idea. Additionally, I broadened my research into how audiences observe films, closely researching the DIEM project and their results.

The key practical approach was photographing a series of Laundromats around Melbourne. This resulted in a close study of each space’s unique poetics and gain an appreciation for these everyday locations. What I never expected was

…the process of capturing the personalities of Laundromats unlocking something else for me. All of sudden I have been noticing objects, moments, architecture, light, etc. in the everyday that would make cool compositions for video/photography. 

Another practical method included trial experiments of various mediums and ingredients in order to create beautiful reactions in my ‘petri dish’. This may have been a costly experience i.e. paints and avocado oil (that sh*t ain’t cheap) but it was worth it! Each trial produced different results and helped with producing the final results.

THE COLLAB

This project was a truly personal experience and the greatest challenge was primarily working alone. Being only responsible for myself / not letting anyone else down but myself / trying to remain focused / only myself to blame. I can be (and occasionally was) my own worst enemy but pulled it off in the end hey. Another set of hurdles that comes with working independently, is to remain objective and constructive, to know when you’re being indulgent and it’s time to make some tough cuts.

During the studio petri dish shoot, I was grateful to have Eve and Judrina come along for the ride. The girls provided moral support, smart ideas, extra hands and to be honest, helped keep my head screwed on.

I love collaboration and would normally relish in the opportunity to expand ideas with other people. And although that opportunity came in other forms e.g. chats with fellow students, pitches, consults with Paul, etc. it was a rewarding experience to conceive, shoot (mostly) and complete post production alone.

THE END

And here we are, the end of the semester, the end of True to Form. Have I stayed true to form? I think so. But it truly has taken all 13 weeks to answer.

The Studio’s Brief proposes how our conception, development and production of short film projects can be limited by its commitment to a particular form and we should consider that the form and content of our work be determined by our creative vision. 

I set out to broaden myself as a storyteller but not lose sight of who I am as filmmaker. I felt the creative concept remained the fuel for my fire and really tried to not be restrained by traditional filmmaking conventions or practices. I challenged myself by pursuing an abstract narrative, shooting intuitively, and filming macro reactions of milk and dye!

The final film asks you to search for answers. Instead of conforming to a three act structure or conventional character development it attempts to communicate meaning and story through abstract cinema. I could give you my answers but that’s not the point. It’s up to you to connect the dots.