Spose I should start packing then.

In addition for preparing to leave and finishing up at work, I produced two short films: ‘Copper’, (21/22 and 28/29 January 2012), and ‘A Party For Me’, (4/5/6 February). It’s been a crazy busy time (which is usual for me). I’m looking forward to the ‘whoomph’ when I’m on the plane and have the chance to relax.

So, to all the people that I’ve known in Wellington: so long, farewell, auf wiedersehn, adieu. And come visit me in the UK.

We’re shooting ‘A Party For Me’ this weekend. I’m heavy in pre-production with the director, Amy Brosnahan.

Copper is the story of a deaf boy whose world is changed when he meets a Living Statue. This ten-minute short is the next film from film and theatre director Jack O’Donnell. Our aim is to create a striking visual film for submission to film festivals. The film is being shot in Wellington on 26-29 January.

The film is being done on a small budget. Unfortunately this means that we cannot pay crew (though we would love to). However we will be covering costs and will be providing catering on-set.

The Costume Designer will create the Living Statue costumes, and will be in charge of maintaining the visual aesthetic of the production in dressing the actors. The successful applicant will be able to work to a tight schedule and to budget in producing the costume; will be available for make-up/costume tests during the week of 14-20 January; will work with the Director, Director of Photography, Art Director, and Make-up Artist to create the visual look of the film.

This is a quick post to say that I’m incredibly busy at the moment, so apologies if you’re wanting to hear from me. I’m in heavy preproduction for two short films (Copper, directed by Jack O’Donnell, and A Party For Me, directed by Amy Brosnahan).

If you’re reading a Crew Call or Cast Call, what attracts you to a project? What dissuades you? Personally, I find poor spelling and grammar puts me off – if the crew call is in text speak, it does not bode well for the project. Does asking for enthusiastic team-players grind? Does the name of the Director or DOP help your decision? Does knowing whether you’re working with Film School graduates or the budget of the film actually help? What about asking for professional and experienced crew to work unpaid on a no-budget shoot? Or do people not look at crew calls anymore, preferring to work with filmmakers they know?

Here are a few links that I’m going to check out when I get the chance.

• http://www.dependentfilms.net/files.html
• http://distribution.4filmmaking.com/downloads.html
• http://www.scribd.com/doc/3259710/Script-Breakdown-Sheet
• http://www.indefilms.net/html/prel.html
• http://homefilmschool.blogspot.com/2008/10/shooting-schedule.html
• http://goingforpicture.tumblr.com/post/1205207900/bd1
• http://www.dead4movie.com/2010/12/breaking-down-a-script/
• http://commentarama.blogspot.com/2010/02/film-school-follies-part-13-worst-of.html - I like this idea of writing a journal when filmmaking. I found it useful writing a journal when making The Lake; I should get back into it.
• http://www.freefilmschool.org/download/forms/Script_Breakdown_Sheet.pdf

I am producing ‘Copper’, a short film directed by Jack O’Donnell, and am helping in pre-production for another short film (more details to come). Both films are low- to no-budget projects shooting in Wellington.

We are currently looking for crew. Flick me a message if you want to remind me that you’re crew and awesome.

Azphodel feat. Nasmat
Wednesday 09 November 2011

For my students, we discussed Zill Mufflers for practice in class. Here are some links to information on Zill Mufflers, including links to patterns for crotcheted Zill Mufflers.

• Shira.net
• Ravelry
• “About Zills” on Middle Eastern Dance.Homestead

If you don’t have time to crotchet, for an easy muffling solution, you can use socks on your fingers. If playing for an extended time or if there are people nearby who might not want to hear repetitive zilling, you can mute the top zill by pressing your 2nd and 4th fingers lightly against the metal. This is not a habit for performing though, and is just for some practice. Alternatively, you can angle your top zill so only the edge hits the bottom zill; this is called playing muted. [I am calling the zill on the thumb the bottom zill and the zill on the 3rd finger the top.]

When practising, remember to start slowly and only speed up when you’ve mastered at a slow speed. If you get stuck, either count or say the rhythm aloud. Whenever practising zills, you must move. Practise stepping on each downbeat, travelling, and moving your arms.

The gig is Free Entry.

Turkish Electronique and Bellydance
Music by Azphodel
www.azphodel.com

Acoustic and electronic musician Zane Lazos created the electro-acoustic fusion musical project Azphodel in 2007.  Following a second round of lessons in Istanbul with master tanbur and yaylı tanbur performer and educator Sadun Aksüt, Zane aims to fuse his disparate influences (classical percussion training,  bass guitar, and world music studies).  Some of the instruments utilized in the music include: Yaylı tanbur (yai-luh tan-bur); the long-necked bowed lute that is derived from the older plucked Ottoman art music instrument called tanbur or tambur. The mey; a Turkish folk oboe with a large cane reed. The def or daf (in Turkish parlance: Arbani def); a frame drum with distinctive metal bangles and evocative tone.
Bellydance by Nasmat
http://patriciahetherington.wordpress.com/bellydance/

Nasmat has been performing Bellydance in Wellington for over 10 years. She performs Raqs Sharqi and Orientale in Cabaret style.

FREE ENTRY

That is all.