Collateral (2004) – dir. Michael Mann
Second viewing of what is now one of my favourite films. Mann is one of the few directors working in the action genre who know how to properly set-up a scene, and let the action play out in a pure cinematic way. The atmospheric overhead shots make LA feel more like a character than a setting. The digital photography brings a sense of realism and urgency. By the end of the film, the characters are so wonderfully developed, despite it playing out over one night. Easily Tom Cruise’s best performance.

Kicking and Screaming (1995) – dir. Noah Baumbach
Finally got around to watching this after finding it for $2 at Greensborough savers a few months ago. While there were moments that felt like Baumbach was still finding his feet, it’s a solid and impressive first feature nonetheless. I wish Josh Hamilton were in more films.

Every Man For Himself (1980) – dir. Jean-Luc Godard
Besides Vivre Sa Vie, I haven’t been exposed to any of Godard’s films, so watching this felt like quite a leap. At first, the slow-motion shots felt quite gimmicky. But as the film developed, I was fully immersed in them. Could easily be dismissed as misogynistic, but that seems like a misreading. I found its perversity refreshing, and the score was incredible. I actually enjoyed the film most when I embraced how esoteric it was; it allowed me to focus on how the shots were composed (which were beautiful). The opening sequence and the bike-riding a standout. Need to re-watch.

The Piano Teacher (2001) – dir. Michael Haneke
So very intense. After seeing Elle (and loving it), I didn’t think Isabelle Huppert could take a character further. I was wrong. One of the the moodiest films I have seen; cold and miserablist, but not in an obnoxious way. I loved it. My first viewing of a Haneke film, and definitely won’t be my last.

My ‘abstract’ film is something I’ve been thinking of making for a very long time. For a while now, I’ve been inspired by ‘The Art Of Landscape’, a UK TV series that ran from 1989-1990. Each episode has about 5 to 10 4-8 minute segments that show the beauty of the natural world (mountains, penguins, forests, etc), usually in dreamy montage. Each segment is accompanied by either ambient or classical music. It’s referred to as an “Audio/Visual collage”. I have 3/4 of them on VHS and watch them quite regularly; they are very therapeutic.

I didn’t want to replicate the series; sometimes it can get quite tedious. Instead, I just wanted to explore the idea of observing nature’s beauty, and I feel I achieved this in a way that was honest and true to form.

I decided to shoot at Darebin Parklands, a place I frequent to relax. I shot about 20 minutes of footage on my iPhone, ranging from establishing shots to tracking shots. I decided I would use the shots that I found most interesting for the final cut, rather than trying to create a narrative.

Lately, I’ve been making a lot of ambient/new age music. I’ve always been drawn to the idea of using my own compositions for my films; it feels more personal and honest. This is another reason why I have been meaning to make this particular project. The composition I created for this film was made on Logic. The music itself was made with Logic instruments (synths, drum machines), and I recorded the ambient water sounds that is used in the background at the parklands.

I like it, but I’m not totally convinced it works.

True To Form was the only studio available that I wanted to work in. It was quite an easy decision; I didn’t feel strongly about any of the other studios, and I was looking for something that felt like a continuation of Robin’s Translating Observation studio, in terms of a way to approach and think about filmmaking.

Paul asked to think about what ‘turns you on’ cinematically. I’ve realised that I am mainly drawn to the possibilities of cinema. Things that are unique to the medium. Over the summer, I wanted to and inevitably failed to come up with something that I could work on. The problem was my approach; I kept thinking in terms of limitations. That, and I was always trying to mimic rather than allow my influences to naturally guide me. I feel like this course will help provide myself with a method that will overcome these problems.

I don’t know what I’m going to create in the second half of the course, and that excites me. I feel that after having weeks of experimenting and testing a new way to approach filmmaking (learning about filmmaking rather than purely making something), I will (hopefully) be able to come up with an idea that I feel strongly about. I still need to be more honest with myself, and have that reflected in my work. Ultimately, I want to be fulfilled (don’t we all).

I need to stop thinking about the quantity of projects. If this studio does nothing else but change my creative process, I will be happy.

We were tasked with filming a 10 second shot, and I began to panic. Despite Paul’s emphasis that it wasn’t “time to have a creative crisis”, I found myself in a such a state. In the past Media studio’s there were always several occasions where we were told to shoot something around the University. I found its limitations a problem and wished for such a day to never come again. But I knew that I was being ridiculous and I had to embrace difficulty.

My group decided to film around the animation rooms. Immediately I found myself drawn to the colours of a seating area. The seat itself was nothing special, though under it was this neon-ish orange light that was quite striking. I decided that was the space I would occupy, and tried to think of an idea that would *seem* like I knew what I was doing. I got Lance to sit on the seat, and put the camera above and facing down to his feet. I instructed him to tie the laces of his black shoes on the orange-lit floor. What’s ridiculous about it is that this is the exact type of filmmaking I hate. A shallow, ostentatious image. A la Nicolas Winding Refn. It was totally dishonest filmmaking.

I had my doubts at the time but prioritised meeting the deadline. It was only when I watched it in class the following day or so that I took it seriously. I am ashamed of the outcome. The criticism was constructive; I’m glad Paul is very honest.

I need to completely revolutionise the way I think (primarily but not exclusive to filmmaking). I feel that as a result, my work could be a bit more coherent and fulfilling.