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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 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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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...

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