Filtering by Tag: filmproduction

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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