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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

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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© Black Art 2019