Filtering by Tag: filmmaking

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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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

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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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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