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.
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!