golems fardvag

ikvall paborjade jag pa allvar redigeringen av 'GOLEM', efter en hel rad tekniska problem under helgen med intankningen. jag borde ha en grovredigering klar imorgon kvall. det ser bra ut! redan nu har jag tagit mig lite kreativa friheter med storyboardet - redigering ar en organisk process. det finns hopp om liket...

pics from the set of 'golem'

set protocols for 'golem'

1. lots of smiles.
2. lots of hugs.
3. the actors need their space.
4. questions and suggestions are ALWAYS encouraged, before 'ACTION' and after 'CUT'.
5. a 'frequent break policy' will be implemented, meaning that we allow ourselves time to breath.
6. BE CAREFUL with and around the equipment. wires, heavy and sharp objects can create havoc.
7. have fun.

tillfällets foaje, möjlighetens väntrum

med endast ett par timmar kvar till inspelningen av "GOLEM", så pendlar man mellan en förvissan om förberedelsernas omfattning, och en gnagande känsla om det oförutseddas förmåga att bringa korrumption med sig. precis innan en inspelning är jag nästan alltid ängslig över att jag inte förberett mig tillräckligt mycket, eller ett ifrågasättande av ens egen kompetens. filminspelningar är ju unika på det sättet att de erbjuder en, en väldigt begränsad period av tid för att lyckas med det man föresatt sig. man får väldigt sällan en andra chans för inspelningen, i jämförelse med teateruppsättningar som har en chans att tweaka föreställningen sisådär 20-30 gånger. man måste vara beredd att försätta sig i en mentalitet av effektivitet, eftersom det finns en uppsättning av shots som måste betas av, tider som måste hållas, en dramatisk laddning som måste vara närvarande - och mitt i alla dessa måsten av stress och press, så glömmer man oftast av vad det är man är med om. man är så fokuserad på att försöka replikera sina inre bilder att man helt förtränger faktumet att magin gärna vill se sig själv som anträffningsbar på en filminspelningsplats. man måste påminna sig själv om att det finns en anledning till att man nått till den punkten att man frågar om alla är redo och ber om tillåtelse av Tillfället att få börja då man viskar ´action´. man är där man är, omgiven av förväntansfulla människor, för att det är där man hör hemma. om Tillfället är ens foaje så är det tomma mini-DV-bandet Möjlighetens väntrum.

sfx make-up test

these pics are from yesterdays pre-production sfx make-up test. everyone is hard on work in anticipation of the shooting of 'GOLEM', which takes place on friday and saturday.



ASTHA is doing NATASHAs make-up...


... while ASGER (director of photography) is figuring out the directors crummy notes regarding the visual aesthetics.

the end result is hinted at below...

produktionsuppdatering 'golem'

söndagen ägnades åt förproduktion. inledande samtal på GLOBE och improvisationer och repetitioner på PCFE med reagörerna MAGNUS och NATASHA; ett första förproduktionsmöte med mitt crew (1 A.D., 1 DoP, 1 sound key/wardrobe, 1 light key, 1 grip, 1 SFX-smink, 2 reagörer), sedan en stillfotosession där jag och ASGER tillsammans utarbetade ett photoboard.

ikväll, måndag, är det SFX-smink test samt wardrobe-fitting; på onsdag är det fortsatta repetitioner; torsdag kväll är det transport av utrustningen, och mellan 09-20 på fredag spelar vi in huvuddelen av filmen. på lördag är tiden mellan 09-13 reserverad för en del pick-up shots.

G O L E M (shortplay)
by Csaba Bene Perlenberg

INT. KITCHEN, APARTMENT - NIGHT
A male hand uses the handle of a KITCHEN KNIFE to BEAT a piece of meat, so as to soften it up.

INT. TV-AREA, APARTMENT - NIGHT
DAVID, 24, sits and watches TV. He's eaten dinner; the plate is in front of him on the table. He's nodding off.

A LOUD KNOCK, followed by several more, is heard from the other side of the APARTMENT DOOR, from out in the hallway.

David COMES TO LIFE. He looks at his watch. 23:46. He hesitates to get up, but makes up his mind when yet another group of HARD KNOCKINGS are heard, this time sounding as if fists were beating on the door. He MUTES the TV, and HURRIES to the door and presses his face against it, looking out through the peephole.

A WOMAN, 30-something, is turned with her back against us, looking out toward the stair house.

She TURNS AROUND. Her face is BLOODY and BATTERED, and she's BANGING on the door yet again, constantly looking over her shoulder.

David QUICKLY unlocks the door and opens it. She FALLS into the hallway, crashing to the floor. She looks up at him, pushes herself up, SLAMS the door shut and locks it. She also switches the light-switch off, and the corridor falls into DARKNESS. The FLICKERING LIGHT of the TV lits them both.

She takes a deep breath and slides down to the floor again, with her back leaning towards the door. Blood is dripping from her face.

David doesn't know what to do. He stares in disbelief for THREE SECONDS, before he slowly kneels in front of her to take a closer look of her wounds. Her left eyebrow is cracked; she has bruises which look like handprints on her throat, and a big bruise on her cheek. A moment of pause.

Another HARD KNOCK is heard on the door. The woman jumps about, of fear. David is a little bit shocked, too. She looks upwards, and presses against, the door. He opens his mouth and forms his lips to say something, but she signals him to stay silent by putting her finger against her lips.

MAN (O.S.)
I know she´s in there! Open the door! NOW!

They both look up towards the peephole. Fists are
hurled at the door. It shakes.

MAN (O.S.) (CONT'D)
I know you're in there! We're not finished, come out here! I need to talk to you!
(Beat.) (CALMER:)

Please. I just... I just need to talk to you. Please? Sweety?

David looks at the woman's bloody eyebrow, and then rises SLOWLY to look through the peephole. Halfway up, the woman GRIPS David's shirt, and tugs it downward. He looks down at her, and she adamantly shakes her head. His hand goes to hers, holding it, to comfort her. He stands besides the peephole, without yet looking through it, slowly moving his head so he
can get a look. The door shakes again, which makes David STOP. He looks down to the woman again. She shakes her head with even more resilliance this time. David moves his head towards the peephole.

MAN (O.S.) (CONT'D)
FINE! That was your last chance!

The LOUDEST and most VIOLENT BANGING on the door to date. David trembles, and doesn't look through the peephole. Instead, he looks down to the woman again. Her stare is cold, not reacting to the flowing blood. The man outside WALKS AWAY (footsteps).

INT. KITCHEN TABLE, APARTMENT - NIGHT
The woman sits with a stale demeanor on a stool. David is kneeling in front of her, wiping clear the blood from her face with a wetted piece of cloth. She doesn't react. He takes her hand and makes her aware of the fact that she has to press the cloth towards the wound, to stop the blood-flow.

He looks towards the hallway. There's an eerie SILENCE in the apartment.

David takes a deep breath and moves towards the phone. He picks it up, and starts dialing a number. SUDDENLY, he feels her hands on his arm, pressing the phone down to it's docking port, thus cutting of the call. She slowly shakes her head. David is FRUSTRATED, he want's to help her. Tears come from her eyes. He tries to comfort her by taking a grip
around both her arms. THEN, a LOUD KNOCK is heard.

She FREAKS and breaks away. David is shocked, since he doesn't understand what he did wrong. He tries to calm her down, but she BACKS away from him as he approaches her, moving towards the hallway. David shakes his head. It wasn't his intention to upset her...

Then, a CALM KNOCKING. The woman is thus trapped between the door and David. Another CALM KNOCK.

MAN (O.S.)
Are... Are you in there? I´m... I didn´t mean to... I love you, you know that.

(Beat.)

(CONT`D)
Don´t you?

David's look is switching back and forth between the woman and the door.

MAN (O.S.) (CONT'D)
I just need to talk to you. It won't happen again. It won't, I promise.

David walks towards the woman, inadvertingly driving her towards the door. He halts when he realises what he's doing. But she continues, backing towards the door. David shakes his head, saying "no, please, don't do it", with his expression.

She reaches the door. David is still halted. She looks down to the door lock, and then back up to David. Her hand goes to the lock, feeling it.

MAN (O.S.) (CONT'D)
I would never do anything to hurt you.

Her face.

(Beat.)

Davids face.

(Beat.)

Her hand UNLOCKING the door.

SMASHCUT TO:
BLACK.