The End (For Now)

Dear everyone, 

I hope you had an enjoyable Easter. As you probably know, I spent mine at the Agalmatophilia: A Tragedy In Three Acts Closing Party organised by C-47. I enjoyed being surrounded by Ka Ho’s beautiful statues and drawings, and listening to the music of two great Dublin music acts, Jake Regan and Nervvs.

So, it seems the crowdfunding campaign for my film Agalmatophilia: A Tragedy In Three Acts has come to an end.

I thought I would write a post on the last weeks of the campaign or something similar, but there’s not much to say, I’m afraid, apart from:

- We haven’t reached our goal, but I don’t consider that to be a problem: my adventure has just begun and, thanks to the contributions we received, we’ll definitely shoot a part of the film! 

- I’m not particularly happy, but not because of the reason above.

That said... 

I’ll be back on gavinomarianomura.com soon to introduce a new page, News, and with the brand new edition of my Art Journal. Meanwhile, I’ll keep myself busy with two music projects I had to postpone: Fear & Agony, of course, and a collaboration I’ve been really looked forward to.

And now let me finish this post with a special, special, special ‘Thank you!’ to all the people who contributed to the campaign (by the way, Introducing Adam will soon be available for you to watch!), wrote a post about it, talked of it with their friends and families or helped me in any other way. I’ll never forget what you did.

For those who haven’t received their perks, fear not: in the next few days, I’ll finish sending the last ones. 

Good...

That’s it for now!

Take care, 

Gavino

 

Link

Nervvs

 https://nervvs.bandcamp.com/

Jake Regan

https://open.spotify.com/artist/7a60N8Ve7gyFbNUrWr41tZ?si=WuBZMF4XSZOP-bJa2-5IFQ

Ka Ho

https://www.imdb.com/name/nm6825945/ 

C-47

https://m.facebook.com/CollectiveFourtySeven/ 

Agalmatophilia: A Tragedy In Three Acts Crowdfunding Campaign (A New Short Film)

Dear everyone,

The crowdfunding campaign of my film Agalmatophilia: A Tragedy In Three Acts (link below) has almost come to an end. In around a week, I’ll have to say goodbye to Indiegogo, and I’ll find myself, once again, in the real world (of course, that’s a lie). 

I wrote that I would spend the last half of the crowdfunding campaign posting content about the film itself, but unfortunately (fortunately), I had an idea for a new short film and... Well, I simply had to shoot it as soon as possible! 

Some info about this project: it’s related to Agalmatophilia: A Tragedy In Three Acts, it’s called Introducing Adam: Beyond Creation And Destruction, it will be screened at the closing party of the crowdfunding campaign and my subscribers will be able to see it before everyone else.

As for the posts I haven’t published about the feature film, don’t worry (you were worried, weren’t you?): you will see them after the crowdfunding campaign is over on the gavinomarianomura.com Art Journal (now that I think about it, this piece of info is useful only if you’re reading this on Indiegogo). 

And speaking of my Art Journal, I’d like you to know that its format will change a bit. I want to keep posting my thoughts on art and aesthetics, but I would also like to share the news regarding my work on another page. I hope that will make my art posts more engaging.

One more thing: if you have visited the Indiegogo page of my crowdfunding campaign, you have probably noticed that it’s been stuck for a while (sad but true). If you don’t feel any negative feelings coming from this post, well, that’s because I have actually been receiving a series of important external contributions.

At this point, I can’t say for sure that we will be able to shoot the entire feature right away. At the same time, I’m pretty convinced that we will make part of it or, better, that we’ll find other funding sources.

I’ll keep you updated, anyway.

‘But, hey, Gav, you still have a week!’

Yeah, that’s true:

If you haven’t contributed to the campaign yet, please consider doing it now (yeah, I mean, right now). We haven’t got much time left, and every single contribution, even the smallest one, can help us a lot!

Also, if you’re in Dublin on the 21st, come to the Agalmatophilia: A Tragedy In Three Acts Crowdfunding Campaign closing event (link below) organised by my friends at C-47 (whom I thank again for last Thursday’s super funny pub quiz!). The fabulous Nervvs and Jake Regan will be there to play, and there will also be something that art enthusiasts will love (tba).

Yeah, so... That’s it for now!

Take Care,

Gavino

 

Links

Crowdfunding Campaign:  

 https://www.indiegogo.com/projects/agalmatophilia-a-tragedy-in-three-acts/x/16999351#/

Closing Party:

 https://www.facebook.com/events/575605209582976/?ti=ia

C-47: 

 https://www.facebook.com/CollectiveFourtySeven/

Nervvs: 

 https://www.facebook.com/nervvs/

Jake Regan:

https://www.facebook.com/jakereganmusic/ 

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Agalmatophilia: A Tragedy In Three Acts Closing Party

Dear everyone

Today, instead of sharing my thoughts on the characters of my film Agalmatophilia: A Tragedy In Three Acts, I will make a very special announcement.

As you already know, on the 10th of April, there’s going to be a film-related pub quiz in Dublin (see link below). This was organised by C-47, a new music video company I’m having the pleasure to work with, in order to raise some money for the film.

Well, that’s not the only event these guys are organising. On the 21st of April (at Easter), there will also be a closing party full of art in The Button Factory private venue (also in Dublin: link below).

I’m particularly excited about this one!

My friends Nervvs and Jake Regan, two of my favourite music acts in town, will be there to play, and there will also be a special screening (I’ll tell you more soon).

That’s not everything, but you’ll have to wait for my next announcement to have more details.

Please know that, if you’re one of the contributors of Agalmatophilia: A Tragedy In Three Acts, the entry is free (and if you haven’t contributed already, follow the link below and choose your perk)!

Take Care,

Gavino


Links

Agalmatophilia: A Tragedy In Three Acts Closing Party:

https://www.facebook.com/events/575605209582976/

Pub Quiz:

https://www.facebook.com/events/305179830147939/

Agalmatophilia: A Tragedy In Three Acts:

https://www.indiegogo.com/projects/agalmatophilia-a-tragedy-in-three-

acts/x/16999351#/

C-47 Facebook Page:

https://www.facebook.com/CollectiveFourtySeven/

Nervvs Facebook Page:

https://www.facebook.com/nervvs/

Jake Regan Facebook Page:

https://m.facebook.com/jakereganmusic/

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Agalmatophilia: A tragedy In Three Acts Crowdfunding Campaign Week #05 (Introducing The Characters)

Dear everyone,

I hope your week was good and full of pleasant surprises.

As promised, I’m here to talk about the characters of my film Agalmatophilia: A Tragedy In Three Acts.

I don’t know if this is clear from what I wrote on this website, but there are only eight characters in the entire film, and four of them will never even actually appear.

It’s not unusual to see independent films that feature only a limited amount of characters. As you can probably imagine, the reason behind this is, usually, lack of money, although, in this case, my love for chamber plays was the main factor.

I love minimalist art, (if you have seen my shorts, you already know that), and I’m very grateful I do: you can’t really dictate your sensitivity and your creativity, so if you’re into big budget movies, well, good luck: you have my respect!

Now, before I continue, it would be better for me to remind you what Agalmatophilia: A Tragedy In Three Acts is about.

This is what you can read on my website and on Indiegogo:

AGALMATOPHILIA: A TRAGEDY IN THREE ACTS is the story of LILITH, a lonely 25-year old sculptor who is visited by the living BLACK CLAY STATUE of a demon that claims to be able to make her live a parallel life shared with someone she loves.

Intrigued by the idea of leaving her loneliness behind, Lilith embarks on a twisted and surreal journey across three different versions of her life, all of them characterised by three different versions, or ‘faces’, of her new partner ADAM, a mysterious character who’s currently working on a show called ‘Agalmatophilia’ and who is, in turn, a masochistic actor, an emotionally unstable theatre director and a sadistic playwright.

Helped by the WHITE CLAY STATUE of a pagan god and by her guardian spirit, a FOX, Lilith tries to escape her nightmare by following a path hidden in the woods on another plane of existence: her imagination.

(A note: this synopsis is incorrect. It’s been extremely oversimplified, but I had to write it this way to give you a vague idea of what I’m doing.)

Now that you remember the story, we can continue to talk about its eight characters (by the way, did you notice I only mentioned five of them in the introduction above?).

I usually like to divide them into three groups:

Physical Characters

1. Lilith

2. Adam

Metaphysical Characters

1. The Black Statue (also called The Wolf)

2. The Shady Character (also called The Fox)

3. The White Statue

The Chorus

1. The Dear

2. The Snake

3. The Raven

(Yes, these are the ones that I didn’t mention in the synopsis)

I’m sure many people would divide them differently, but this is how I see them.

The first one I created (you guessed it) is Lilith, although that wasn’t her original name.

Lilith is the main character of the film, and the one I personally care the most, probably.

The second one I created was Adam (I’d like you to think about the implications of what I’ve just written).

As many of you will certainly know, the name Lilith comes from a Jewish mythological figure that from the Middle Ages began to appear in a series of mystical literary works as Adam’s first wife.

According to some of these writings, Lilith was created with Adam (and not after him, like Eve) and from the same clay (this is one of the reasons the name Lilith has been associated with feminism).

Do Lilith and Adam symbolise humankind?

Why do you think I didn’t choose to call the main character of my film Eve?

These are some of the questions I won’t answer on Tuesday, the same day I’ll write more about Lilith, Adam and the other characters of Agalmatophilia: A Tragedy In Three Acts.

For now, if you haven’t already, please consider contributing to the crowdfunding campaign of the film!

Also, if you’re in Dublin on the 10th of April, why don’t you come to the film-related pub quiz organised by C-47 (a brand new music-video/film company)? There will be tons of prizes to win, and all the money raised during the night will help us fund Agalmatophilia: A Tragedy In Three Acts. (Oh, and if you’ve already contributed to the crowdfunding campaign, you won’t be charged to take part in the quiz!)

Very, very well…

Take Care,

Gavino

Links

Indiegogo Crowdfunding Campaign:

https://www.indiegogo.com/projects/agalmatophilia-a-tragedy-in-three-acts/x/16999351#/

Pub Quiz:

https://www.facebook.com/events/305179830147939/

C-47 Facebook Page:

https://www.facebook.com/CollectiveFourtySeven/

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Agalmatophilia: A Tragedy In Three Acts Crowdfunding Campaign Week #04

Dear everyone,

Probably, you already know that I decided to extend the crowdfunding campaign of Agalmatophilia: A Tragedy In Three Acts (see link below). That means that we’re right in the middle of it: we still have a month to reach our goal.

This would be a good opportunity to talk about my experience as a campaigner, but, frankly, I don’t think that would be very interesting.

From now on, I would actually like to focus my attention on the film itself. After all, that’s the reason behind the campaign, that’s my goal and, definitely, a slice of my own life.

A note: some of you will notice that this post can be found both on Indiegogo (as an update) and on my website (as an Art Journal entry). I’m crossposting, mostly, for the sake of clarity.

That said…

Welcome to the second part of the crowdfunding campaign for my drama/psycho-metaphysical horror/low fantasy/sadomasochistic film (did I ever tell you that I hate the concept of genre? Oh, I’ll write a post about that in the future, and it will be full of anger and contempt!) Agalmatophilia: A Tragedy In Three Acts.

In order to share with you a more detailed introduction to the film, over the next three weeks, I’m going to write some posts concerning three (or four, depending on how you look at the world) of the fundamental aspects of storytelling: characters (who), space & time (where & when), and action (what & how).

(I would like to point out that I’m fully aware I will be abstracting these aspects, or elements, from their context, that is, the narrative. It’s a common thing to do, and I also think it’s a fun way to explore the story.)

Also, I’m proud to announce that C-47, the guys who made Creation and Destruction, the two videos I recently shared with you, are currently organising an event for the film. It’s going to be a cinema-related pub quiz and it will take place here in Dublin (see link below). I’ll share more info pretty soon, so check my updates.

That’s it for now!

Take Care,

Gavino

 

Links

If you want to help us make Agalmatophilia: A Tragedy In Three Acts:

https://www.indiegogo.com/projects/agalmatophilia-a-tragedy-in-three-acts/x/16999351#/

The Art Of Film; A Pub Quiz:

https://www.facebook.com/events/305179830147939/?ti=ia

C-47 Facebook Page:

https://m.facebook.com/CollectiveFourtySeven/

Drawing the logo...

Drawing the logo...

Agalmatophilia: A Tragedy In Three Acts Crowdfunding Campaign Week #03

Dear everyone,

I’m here, again, to tell you about my quest for a successful crowdfunding campaign.

I thought I would start this post by writing about the worst week we’ve had so far, but…

We’ve just received a huge donation from an angel who would like to remain anonymous and our budget has basically doubled…

That’s right: a quarter of the film has been funded!

I mean, I wanted to talk about crowdfunding-related anxiety and depression, but…

F**k that!

I’m going to celebrate.

By the way, a reminder: Destruction, a film/music video directed by M.A.K and shot/edited by John D Breen (C-47) for the crowdfunding campaign of Agalmatophilia: A Tragedy In Three Acts is now on YouTube, and it looks amazing!

It also features a song by the Irish band Junk Drawer so, if you like the Irish Indie music scene, you should definitely check it out.

Take Care,

Gavino

 

Links

Agalmatophilia: A Tragedy In Three Acts Crowdfunding Campaign:

https://www.indiegogo.com/projects/agalmatophilia-a-tragedy-in-three-acts/x/16999351#/

C-47 (John D Breen & M.A.K):

https://m.facebook.com/CollectiveFourtySeven/

Destruction - Music Video:

https://youtu.be/NAhNQGlDbt0

 

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An enigmatic still from ‘Destruction’ by M.A.K

Agalmatophilia: A Tragedy In Three Acts Crowdfunding Campaign Week #02

Dear everyone, 

The second week of the crowdfunding campaign of my film Agalmatophilia: A Tragedy In Three Acts (https://www.indiegogo.com/projects/agalmatophilia-a-tragedy-in-three-acts/x/16999351#/) is over. 

How did it go? Well, let’s just say that it wasn’t perfect and... That I didn’t expect it to be!

We definitely need more contributors so, if you happen to know someone who might be interested in independent films or in the perks we’re offering, please tell her/him about this project.

You would do me a big, big favour!

And now I have some info for the contributors:

Today, you’re all going to receive the first series of digital perks (Introducing Lilith and everything related to it).

I actually planned to send Incantations (to the contributors that gave us €25 or more) and Rituals (to the contributors that gave us €100 or more) too, but I wasn’t happy with a couple of things, and I really want you to have everything nicely packaged (although we’re talking about virtual packages!).

Apologies for that!

Anyway, you won’t have to wait for another week to get all the rest: the next perks will arrive on Tuesday (together with an update).

As for the physical ones... Check your mailbox!

That’s it for now...

Thanks again to all the fantastic contributors!

Take Care, 

Gavino

 

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Introducing Lilith, Ireland, 2016

Agalmatophilia: A Tragedy In Three Acts Crowdfunding Campaign Week #01

Dear everyone,

The first week of the crowdfunding campaign of Agalmatophilia: A Tragedy In Three Acts is over.

It was a very intense week, if you ask me, and I feel pretty tired, more than I should be, probably. It’s common for people who do something for the first time to waste too much energy, I guess.

Anyway, it was also a very rewarding week: we reached the 16% of our goal, and even if that doesn’t sound like a lot, statistically, 4 in 5 campaigns that have reached that percentage on the first week succeed.

There’s hope!

Of course, the real campaign starts now: there is no time to rest!

I’d like to thank everyone who spent a bit of his/her time/money to contribute to Agalmatophilia: A Tragedy In Three Acts. I’m really, really, really thankful!

(By the way, I’ll start sending the perks next week, so you’ll receive them pretty soon!)

And if you haven’t visited the Indiegogo page of the campaign, just go to...

https://www.indiegogo.com/projects/agalmatophilia-a-tragedy-in-three-acts/x/16999351#/

Of course, when you’re there, select a perk and share! Every kind of contribution can make the difference, believe me.

Now it’s time for me to go to the screening of Incantations at The International Bar in Dublin. It was organised by the C-47 team (https://m.facebook.com/CollectiveFourtySeven/), the same fantastic guys that made Creation, the first video of a trilogy inspired by Agalmatophilia: A Tragedy In Three Acts.

If you haven’t seen it:

https://youtu.be/IuM8tYn-VIY

Take care, 

Gavino

A still from ‘Creation’ by John D Breen (C-47) featuring a sculpture by the artist Ana Carey

A still from ‘Creation’ by John D Breen (C-47) featuring a sculpture by the artist Ana Carey

Agalmatophilia: A Tragedy In Three Acts

Dear everyone,

Just a few words to let you know that the crowdfunding campaign of my film Agalmatophilia: A Tragedy In Three Acts is live!

Follow the link, choose a perk and share it!

https://igg.me/at/agalmatophilia

(Right now, I’m a bit too tired to write more than that… But you’ll hear from me very soon!)

Take Care,

Gavino

(Yeah!)

(Yeah!)

Random Thoughts About Art: #04 The Red Shoes

Dear everyone,

If you’re wondering about the title of this post, well, let me just say that the Powell & Pressburger film (more than the fairy tale written by Hans Christian Andersen) could easily represent my artistic life.

My obsession with art will probably be the death of me, physically or psychologically, figuratively or literally.

I know there's no turning back and, honestly, that’s something that scares me and reassures me at the same time.

Take care,

Gavino

 

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The Red Shoes, Michael Powell and Emeric Pressburger, UK, 1948

Crowdfunding Agalmatophilia: A Tragedy In Three Acts

Dear everyone,

I hope your week was enjoyable and productive. Mine was.

If you’ve read my previous posts, the fact that I’ve been working on the crowdfunding campaign for Agalmatophilia: A Tragedy In Three Acts won’t surprise you.

We’re almost there: in a week or so, you will be able to grab some nice artistic stuff in exchange for your contribution.

This is my first crowdfunding campaign and, honestly, I’m already thinking obsessively about a series of things I could have done differently. At the same time, I still believe I’m creating something you don’t usually see, and this is what’s keeping the car running.

I really want everyone to get something from it, and that’s why you won’t find any average ‘Thank You’ perks.

Enough! I don’t want to write too much about it, and it’s time to get back to work.

Enjoy your weekend and, if you haven’t, sign up:

https://www.indiegogo.com/projects/agalmatophilia-a-tragedy-in-three-acts/coming_soon/x/16999351

Take care,

Gavino

 

Statues by Katarzyna Horzela

Statues by Katarzyna Horzela

Producing Agalmatophilia: A Tragedy In Three Acts

Oh, my… It’s been almost two months since I wrote my last post! I should stop saying things such as ‘Next week, I’ll write about this…’ or ‘In the next few days, I’ll tell you about that…’.

My projects and, especially, my mood are too unpredictable.

But let’s not talk about that! Let’s talk about Agalmatophilia: A Tragedy In Three Acts.

First of all, as you might have noticed, I changed the title. I did it because another film called ‘Agalmatophilia’ (a comedy directed by Jared Masters) has just been released, and I thought it would be polite to do so.

Anyway, apart from that, nothing much has changed: I have the script, I have the will to make the film and... I don’t have a producer!

But let me explain the situation:

Last year, I sent a long series of emails to an equally long series of producers interested in arthouse films. Frankly, I thought nobody would reply, and I was wrong. Some of them did, and that alone made me pathetically happy (it also made me realise that a producer is not a ferocious mythological creature we’re bound to fear and/or despise, but a human being like you and me… Although, there are some exceptions, obviously…). Unfortunately, at the same time, no one seemed willing to produce my film.

Too bad…

Now, I consider myself to be a pretty rational person (now that I think about it… am I?). When something like this happens, I always try to find the reason behind it, and that’s why I asked myself: why was my film rejected?

I could write an entirely new post talking about the most exhaustive answer I could find, which is relatively complex, so I’ll just say:

Because of the same reason Jan Svankmajer and Alejandro Jodorowsky, two of the greatest living filmmakers, decided to launch a crowdfunding campaign to produce their own films.

I think you’ve already understood what I’m about to say.

In two weeks from now, I will launch the official crowdfunding campaign for Agalmatophilia: A Tragedy In Three Acts (damn, I’ve just given myself another deadline… I promise I will do everything I can to meet it, though!).

For now, you’re very welcome to go to the Indiegogo pre-launch page:

https://www.indiegogo.com/projects/agalmatophilia-a-tragedy-in-three-acts/coming_soon/x/16999351

I and my team have prepared some very interesting perks, so I suggest you sign up and share with everyone you know!


Thanks for reading!

 

A statue made by the fabulous Katarzyna Horzela

A statue made by the fabulous Katarzyna Horzela

Agalmatophilia: The Script

Once again, I’m here to talk about Agalmatophilia, the feature film I’m currently working on. This time, I’d like to write, briefly, about the script.

I think I’ve already mentioned that I started working on Agalmatophilia a few years ago. I had just graduated from college, and I thought it was time for me to work on my first feature.

At first, I wanted to write something more or less accessible to everyone, a script that I could sell, metaphorically and literally. It seemed the best thing to do because, simply, I wanted someone to produce it.

(Having a producer means that you’re free to think, exclusively, about the artistic side of the project)

I started writing a (kind of) realistic story with surreal elements: the realistic (and slightly social) side of it would be appealing to the producers I would send it to, while the surreal one would satisfy my artistic hunger. 

After several months, I had a script, and it was a terrible one. The visionary portion of the story wasn’t enough for me, and the rest of the screenplay was, simply put, shit.

It was so frustrating: I had worked so much on it! I really didn’t know what to do... I asked myself: ‘Should I write something else? Should I concentrate on a completely different project?’. 

Eventually, I decided to write the entire script again, and I’m glad I did that. The script itself couldn’t be fixed but, at the same time, there were many good ideas I had hidden under the aforementioned... shit... Probably, I felt compelled to save them from their ignoble destiny.

Surprisingly (or not), it didn’t take me too long to write what was basically a new script. I was so frustrated by the previous one that I decided to think exclusively about the artistic side of the new one, which was, after all, the only thing I really cared about.

Now, I’ve never been very good at creating sellable works of art, although I would love the situation to be different. Commercial doesn’t necessarily mean bad (although I have to say that it’s particularly easy to find terrible art that sells well...), and some of my favourite artists were/are very good at creating successful books/albums/films (think of Fellini’s La Dolce Vita and David Lynch’s Twin Peaks!). But... What can I do? As an artist, I feel my main goal is to absorb the reality that surrounds me and show the others what can’t, normally, be seen. I’ve trained my eyes, my ears, my nose, my tongue, my skin and, in general, my mind for years in order to do that, and I keep doing it. I can’t write down a story only because it’s beautiful: my inspiration would do anything to destroy it because it’s not true (one day I’ll write about this: works of art that are as beautiful as they are untrue). That’s what happened with the first draft of the script!

When I finished Agalmatophilia, I started to think about the actual production of the film. I realised that I had just written something that, probably, nobody would be willing to produce.

Next week, I’ll write about this.

 

Thanks for reading!

(Oh, one more thing: if you haven’t, please subscribe to my newsletter. You’ll find the form at the bottom of the page!)

 

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Introducing Lilith’s World: Agalmatophilia

First of all, a giant ‘Thank you!’ to all the people that subscribed to my new newsletter.

I’m sincere when I say that it means a lot.

Thanks, thanks and thanks again! 

Now...

Let me update you on what’s happening right now in my artistic life.

If you’ve read my previous posts, you already know that I’m currently working on my first music album, Fear & Agony (yeah, that’s the title now). I’m happy to announce that the recording sessions are almost over: in a week or so I will have all the tracks I need to start mixing the album (that is, to give the mess I’ve created to a sound engineer). Hopefully, it will be released in January.

The second big project is Agalmatophilia, a feature film I’ve been working on for a long time and that I’d like to introduce to you with a series of related posts, this being the first one.

(If you haven’t, I suggest you visit the page I created for it on this website and subscribe for news and updates!)

So...

Let’s start with some questions:

1. What does Agalmatophilia mean?

According to everyone’s favourite encyclopaedia:

Agalmatophilia (from the Greek agalma 'statue', and -philia φιλία = love) is a paraphilia involving sexual attraction to a statue, doll, mannequin or other similar figurative object.

 (https://en.m.wikipedia.org/wiki/Agalmatophilia)

Of course, I’m not going to tell you why I chose that title.  I hate spoilers.

2. What’s the connection between this project and Introducing Lilith, the short film that is featured at the bottom of its official page?

Well, this is pretty simple, and I basically talked about it in one of my previous posts: Introducing Lilith was meant to be the teaser trailer of Agalmatophilia (or, better, Lilith, as the film was called a couple of years ago). Unfortunately, I wasn’t particularly happy with the screenplay at the time, and I simply decided to work and work on it again. It’s something I definitely don’t regret.

3. Are you currently shooting Agalmatophilia?

No, I’m not... 

4. Is Agalmatophilia in pre-production?

I really (really, reallly, really, really, really, really) wish it was...

5. So... What are you doing right now (apart from writing some new stuff and producing the already mentioned Fear & Agony) ?

That’s a good question! What have I been doing since I finished writing the script around a year ago?

Well, I’ve been looking for a producer... Unsuccessfully... 

I’ll talk about this next week. For now, let me just say that, if you’re wondering, yes, I’m going to make this film! 

 

Thanks for reading!

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Halloween Memories

After a short trip to Sardinia (when I’m there, I never have enough time!), I’m here to talk about art again.

Well, then... Halloween! 

I have many nice memories about the 31st of October, and today I’d like to share one of them with you. 

When I was around sixteen, as I already wrote in one of my previous posts, I used to sing in a (sort of) band, which was initially composed by me and one of my best friends.

We had been playing and composing together for a year when we decided that it was time to show our friends what we could do (which wasn’t very much, really...). We thought that Halloween would be the perfect day to do that: we would throw a Halloween party in my place and wear some costumes in order to create the characters that would become the members of our band. It was perfect!

If I remember well, we had a five-song setlist composed of original songs and covers, and we were pretty happy about the selection. We rehearsed for a week or so, and I must say that we weren’t particularly anxious about the performance, probably because we thought we were pretty good.

Anyway, on the day of the concert, at 5 or 6 pm,  the guests arrived (only ten people because we weren’t the most social people around)). We all ate and drank while chatting at the rhythm of David Bowie’s Scary Monsters, Disintegration by The Cure and other New Wave albums for a couple of hours.

At around 8, I and my best friend decided it was time to play some memorable music, so we grabbed our very cheap guitars and started to play in front of our friends. I remember I felt fantastic, all the eyes upon us and my voice reverberating in the small living room.

Also, our friends were very nice, and after we finished playing, everybody congratulated us for the show.

I felt it was one of the best days of my life.

Now, I’d like my story to finish like this but, unfortunately, someone recorded our performance (probably, my father), so after everybody went back home, my best friend included, I had a look at our amazing show and... I saw the scariest thing ever!

I think I wasn’t able to sleep that night...

 

Thanks for reading and... Happy Halloween!

 

Screamin’ Jay Hawkins

Screamin’ Jay Hawkins

Random Thoughts On Introducing Lilith #03

After the existential question I wrote last week (you decide if I’m ironic or not), it’s time to talk about my promo/short film Introducing Lilith once again.

I wrote ‘my’, but I should have written ‘our’: a film is seldom made by one single person, although it’s difficult for a writer/director to acknowledge that, sometimes (I’m being very honest). 

When I decided to shoot the video, I was lucky enough to have a pretty large number of people willing to work for nothing, basically. Personally, I hate asking people to work for free, and I really believe that every artist/technician should be paid for what he does, but the crew was composed by some of my former classmates, and I thought we could actually help each other by making something that would eventually become a feature film (I made it clear that everyone involved would eventually get a paid job).

Some of my readers (according to the stats of this blog, it seems they/you really exist, and I’m particularly happy about it!)  may know this already: a crew is basically divided in a series of departments that work on different aspects of the film. The camera department, for example, is in charge of the images, while the people of the too often underrated sound department think about the audio.

Now, the job of a director is, in a way, very simple (if we don’t consider the artistic side of it, at least). He basically needs to give a series of inputs to all the departments in order for them to create a portion of the audio/video organism he has in his mind. Of course, a wrong input can undermine the entire work, and I think this fact is one of the main causes of stress in so many film directors: the pressure can be overwhelming.

I have to say that, fortunately, it never happened to me to have major problems during a shoot (maybe because I’ve only directed short films and music videos, who knows?)), and Introducing Lilith was no exception.  At the same time, my work as the director of the film was far from perfect.

The main shot of the film was meant to be a sequence shot.  My idea was: we see Lilith while she is shaping the statue, we follow her as she gets up, reaches the couch, sits down and notices that someone’s in the room with her. Pretty simple! The problem is that, although the camera people were pretty experienced and the art department had done a great job finding the right props, the camera movement I wanted just didn’t work well with the pieces of furniture we had chosen. The camera and the art departments were disconnected, and it was my fault. I was meant to be the connection between them. 

I could have chosen to shoot a series of brief shots instead of the long one I wanted, but I was afraid the crew would understand that I had made a mistake. What a stupid thing to do! I put my ego before the work of art we were making: one of the greatest sins for an artist.

I was lucky because I was able to fix the problem in post-production, and I think the film itself doesn’t look bad at all, but the feeling of having betrayed my inspiration and the crew is still with me.

 

Thanks for reading!

 

On the set of Introducing Lilith...

On the set of Introducing Lilith...

Random Thoughts On Introducing Lilith #02

If you’re asking yourself why I’m writing a series of posts on a pretty simple 2-minute short film, well, that’s easy: it’s part of a much more complex world I’m currently working on. I’m basically getting ready to introduce it.

Let’s talk about the script.  

The screenplay of Introducing Lilith is, simply put, an excerpt from a much bigger piece of writing, Agalmatophilia. It used to be, actually: Agalmatophilia is now something different, and what happens in the short film is not there anymore.

As I already wrote in the last post, Introducing Lilith was supposed to be a sort of promo, an introduction to the feature film I want (I need... I have...) to make. When I changed the main script, I was a bit afraid I wouldn’t be able to use Introducing Lilith anymore, and the problem wasn’t the fact that the scene had changed... The problem was that the character itself had changed!

Lilith, the Lilith of the short film, is someone who, in a certain way, rules the visionary world she is part of. She’s not afraid of it because she knows it. That’s not the case anymore, but it’s too early to talk about that. 

I decided to release Introducing Lilith anyway. Why? Because I thought it would be interesting to show two different versions of the same character. In a way, it’s like exposing one of the most hidden sides (secrets?) of storytelling.

Yeah, well, actually...  I thought it would be interesting to show FIVE different versions of the character: we’re going to see (at least) four different people called Lilith in the feature film, so...

I’m a storyteller, and I tell the others what I see/hear/feel in general. If I see three, four, five, six different characters who are supposed to be the same person, I’m not going to choose only one. How could I? It wouldn’t be the truth. And why should I? My film wouldn’t be produced by a film production company anyway.

(A message from the deepest part of my heart: fuck the screenwriting rules)

 

Thanks for reading! 

 

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Random Thoughts On Introducing Lilith #01

Introducing Lilith...

Ah, there’s so much I could say about that, so I’ll start with a very simple introduction:

If you haven’t read my last post, it’s important for you to know that I’m talking about a short film I directed a couple of years ago (you can find it on this website and on YouTube: if you have time, check it out and tell me what you think of it!). Although it’s the most incomplete of all my works, it’s also among the most important ones.

Essentially, Introducing Lilith is the weird teaser trailer of a feature film I really (really, really, really) want to produce as soon as possible. Two years ago I thought it would be a good idea to shoot an introduction to the main character of my screenplay: I wanted to show a series of producers a very brief portion of the world I had in my mind in order to, well, make them produce my film. Unfortunately, the short film didn’t really help me (we’ll talk about that in the future), but I’m happy I realised it anyway.

Why? 

Well... When you spend so much time on a screenplay, you’ve got an entire detailed film in your head, an entire world to explore, and it’s fantastic. The problem is that you don’t know what that world will actually look like when represented in our material dimension, and I can tell you that you would really like to.

Now, Introducing Lilith is for me the first materialisation of the world of Agalmatophilia, which is the feature film I mentioned a few lines above. It’s a sort of faulty materialisation, maybe (there are so many interesting things in Lilith’s studio that can’t be seen, that are not there...), but it exists nonetheless.

In the next few weeks, I will talk about the making of the film, the lessons I learned from the experience and how they’re affecting Agalmatophilia.

 

Thanks for reading! 

 

 

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The Ruins Of The Tower Of Babel

First of all, I want you to know that yesterday I released my short film Introducing Lilith. It’s now on YouTube and, of course, on this website (on the ‘pictures’ section). It’s a film I really care about because of many reasons: if you’ve got 2 minutes (literally), I suggest you check it out. Also, the soundtrack of the film is available on iTunes/Apple Music, Spotify, Amazon etc. Among all the pieces of music I composed, it’s probably my favourite one, so I would be particularly happy if you listened to it and left a feedback to give me your opinion.

Now, I’ll probably talk about these new releases next week. Today, I’d like to write about the last song of the album I’m recording, Songs Of Fear And Agony. I discussed the themes of all the others, so this will be the last post of the series.

The song is called The Ruins Of The Tower Of Babel:

 

When I’m alone, I’ll fall into

Antique Italian dreams, among

Thoughts made of marble, tears of paint

And ghosts mouthing rhymes.

 

In churches built of human blood,

I’ll listen to God’s harmony.

And when I return, I’ll tell

Everyone of my secret life.


Who would really comprehend my words?

Who would try to understand

Who I really am?


For now, I’d better hold my tongue

And work on some new cryptic lines,

While German songs and Indian chants

Try hard to overcome the noise.


We all belong to it now, and to

The unbridled Irish wind:

A frenzied oracle of hope that

Speaks in tongues and we can’t see.


Who would really comprehend his words?

Who would try to understand

Who he really is?


Who would really comprehend our words?

Who would try to understand

Who we really are?


A floating world would be enough

For me to face a sudden change,

Although my poor, chaotic talk

Would force me to lie ceaselessly.


Concealed behind the shadows

Of countless Japanese identities,

I’d greet the darkness, kneel

And, lastly, enjoy my solitude.

 

I think it’s fairly easy to understand that one of the main themes of the lyrics is ‘communication’ (or, better, the absence of it). The myth of the Tower of Babel has always been used extensively to discuss this particular topic, so this won’t come as a surprise. If we looked at the lyrics more carefully, though, we would find a deeper meaning concealed underneath the first one: loneliness.

It would be hard for me to deny that this song is particularly personal. To a certain extent, it’s even autobiographical, and the references to Italy and Ireland are there to prove it. At the same time, and this might probably sound strange to some people, Dublin has always made me feel less lonely, so the adjective ‘autobiographical’ wouldn’t be accurate.

Loneliness has been used many times to describe two different feelings. A person who’s got not friends or partners experiences loneliness, for example, and so does someone who can’t feel the presence of, let’s say, God. The two situations, although intrinsically connected, are different: interpersonal loneliness and existential loneliness are not the same.

When I was writing The Ruins Of The Tower Of Babel, I knew exactly what I wanted to do: I wanted to write about interpersonal loneliness in order to talk about its counterpart. I pictured myself lost in a city full of people I could’t understand, a city built upon the ruins of the Tower of Babel, and I pictured many, many people like me.

There they are... Why can’t they understand each other? It’s because they (their fathers) built the Tower of Babel: it’s because they wanted to reach God.

Now, does interpersonal loneliness, absence of communication, or even absence of empathy, come directly from the absence of God, or his inaccessibility? Does it come from existential loneliness?

 

Thanks for reading! 

 

Building Of The Tower Of Babel, Hendrick van Cleve III, About 1525 - 1589

Building Of The Tower Of Babel, Hendrick van Cleve III, About 1525 - 1589

© Black Art 2019