Since our filming in October a lot of wrapping up work has been going on. Too much for me to take the time to update this blog unfortunately. But I’ll try to sum up some of the most important events.
First off, we decided after some thinking, that I would do the ground work on editing the film. So I sat down with the massive amount of footage, started to sort the bad from the good, and then the terrific from the ok. I also made the decision to split the film in two. The pieces of music werent really possible to mix the way i thought at first. I would much rather have them separate and kept whole, just speaking for themselves. I decided to put the “tidy” room first, followed by the gravel scene. They have a connection in pace - slow, longing and restrained. Same as the first piece of music we recorded. To the second “up tempo” song, I decided to put the untidy room, the saw dust and the cleared room together. And with that, I still managed to keep the chronology I had wanted from the beginning.
But as I am no proffessional film editor, I had to have someone look over my rough sketches. That someone turned out to be music video director Daniel Wirtberg. He also worked with the grading afterwards.
As for the work with music. I was in constant contact with Uno Helmersson. We recorded new vocals and made changes according to updates in editing. Uno came up with some brilliant additions and changes in musical intensity in both the gravel scene and the last cleared room. He has a fantastic eye to his ear, and an impressive feeling for soundscapes in connection to physical spaces.
However due to my pregnant body, wich would constantly catch colds, we failed to record the last vocals over and over again. As a very last attempt to make it in time, both for the release of the film aswell as before the babys arrival, I got to borrow recording equipment to try to do it at home. Ironically enough, I didnt feel content with the vocals until the recording I made on my baby’s due date, with a belly size of 115cm and stomach muscles nowhere to be found.
And then I had a baby.
The very last of the corrections and transfering of files, I did as I was brestfeeding. Making this filmproduction feel a little bit too much like a birth to be funny.
Tonight is the big premiere at the Färg&Blanch studio. I am 2 parts super exited and 1 part terrified. See you at Kvarngatan!
The weather today is a lot like yesterdays. Exellent, since we are doing the first take outdoors! To be honest the speed in wich we are working is taking its toll on this pregnant body. My hips and legs are aching from walking up and down steep slopes. Nohting I can recommend for pregnancy workout. However today is last, and I will give it my all anyway.
Just like last outdoor take, the scenes on the set was magical when we arrived. Todays set is a gravel pit with various piles of dirt, stones and rocks. When we showed up the sun was shining and all the pepples were frost covered. The fog was spreading all over the valley and the ocean, visible from the small hights. So poetic it was almost ridiculous.
But as we were obviously following yesterdays procedure, the frost melted just about when the dancers showed up, and the sky filled up with grey. However, the graying skies was a blessing today. We needed to be able to film with a tilted camera, and a blue sky with small clouds will effectively ruin any chance of that (making planning of an outdoor filming like this, really quite risky).
Yet again, César and Stacy blew our minds. They went climbing up hills and performing intricate acts of balance in front of a scarp! The gravel was also really tough on their hands and clothing, but all went well, no accidents what so ever, and the footage was fenomenal. And, need I say, the temperature was just awful, cold and damp, but they just endured.
After some food and sparkling drinks, some drying of clothes and refixing of makeup, it was finally time for the last indoor shoot.
Last night we stripped the set of everything. That felt soothing in a way, to rid the scene of all furniture, the textile wall, and the cieling, revealing some of the aluminium frame the room was constructed by. I want the room to come apart, to undress, to reveal the core of what actually makes it a room. Its sad in a way, but necessary. It is the truth, it might feel cold and raw, but the dancers can move there, nothing to interfere with their steps and slides.
This open space gave the dancers more floor to work with obviously, and they were able to perform some more of the balancing acts they started on outside earlier today. Those two have no limits, they are both so flexible you doubt they acctually have limbs sometimes!
We film like crazy, and then we wrap up. Applause and hughs and goodness do I feel tired now, I can barely stand up. This has been a fantastic few days, cant believe we’ve made it all the way here.
Goodnight people, Im going to sleep now. I pull the pregnancy card and my wounderful husband gets to clean up after me… If that isnt love, I dont know what is. Tomorrow we pack the car and head south. And the day after that, it’s business as usual at the office.
Today was also a gorgeous day! The fog came rolling in from the Baltic sea and it was a light frost. Not too cold at least, good since we were to perform outdoors today. Weather forcast for the day says sunny and cool untill noon and after that a light rain and slightly higher temperatures.
When we arrived on set, we were all amazed. The light and the fog was magical!
The location today was a wood chip factory located right by the water. SCA Bio norr. Standing on top of one enormous pile of sawdust, the view of the foggy bay was breathtaking, and the frost was really hightlighting the textures of the material. I could not believe our luck. Neither could photographer Johan.
Only thing was that the temperatures kept raising and by the time the dancers arrived, most of the frost was gone. However some of the fog remained and we decided to keep a lot of the landscape in view, even though the original plan was to only depict the strange cream coloured moon-landscape of the piles. It was just too damn pretty to leave out. Even the factory itself got some of the glory as it fit right into the playful mood we set for the filming today.
César and Stacy were fantastic to work with also on this set. They followed our playful instructions and just kept going even when we asked them to throw themselves down the sawdust pile. And they kept goinging even though a light drizzle came and turned the costumes into a smudgy wood/wool mashup and the temperature still wasent more than a few degrees above freezingpoint. Amazing, amazing people!
After a well deserved lunch break, the warmed- and dried up film crew continued to shoot indoors.
Last night we had changed the scenography from a tidy strict room into a messy one. It is intressting how long it can take to create a believable mess, especially when each seperate item has to be attatched to the wall or floor with a number of screws. It took us well over 4 hours.
With this new set the mood was still a cheerful one. For me, an untidy room represents something deliberating, a sidestep from the ordinary life and playfulness. It is a place where you are loosing control - and loving it.
The shooting this afternoon was good, no major incidents and the mood was slightly higher than yesterday due to the music we got to use for this set. Even though Im always in for a bit of melancholy, there are only so many shoots where you want to cry…
Good morning! The skies are blushing with exitement and so am I.
Today we film indoors.
We finished off the last of the set this morning. As soon as the last of the workhsop dancers had left the location last night, we started to make the set ready for filming. Blessed Fredrik and Emma were there to help out attatching their furniture. It took the better part of the evening and also this morning to make it right.
No one had really forseen how extremely hard it would be to work on a leaning surface, all the lifting and trying to hold things in position while trying to stay in balance at the same time. It didnt help that the warehouse had not been properly dusted off in the past 50 years ( although I did get to drive around in a cleaning car, it did little good to sweep off a floor with a remarkably rough asfalt surface) This particular dust also had a habit of attaching to the floor on set, making it super slippery. Good for sliding, but really bad for attaching furniture and just doing general work on. We had to clean it off with red ethanol over and over, and also spray handball glue on strategic spots.
When the dancers, Stacy and Ceasar arrived at noon, we had to make some final adjustments to the costumes. For one, we decided to let them use boots instead of beeing bare foot. Bare skin covered with handball glue didnt seem to do the trick. We also had to see how the fabric would react to gravity on set, also resulting in some minor corrections.
After a lot of "getting ready" we finally started to get down to some real filming.
Unfortunatly I cant show any pictures of the set, since the furniture collection specially made up for this set, will be released in February next year, so until then, some images from behind the scenes.
What I can reveal though, is that it is going to be fantastic! So happy about the lovely, wounderful dancers, so professional, emotional, beautiful and a joy to work with.
Here we have them, together with Oscar, inspecting footage.
Due to the workshop, both the dancers and ourselves had gotten a much better understanding of what kind of movements would work on camera so we started with letting them improvise to music, similar to what is going to be when the music production is finished. And boy did they deliver! At one point, they had both me and another person in the crew crying like a pair of “so you think you can dance” judges.
Longing to fly/Longing to fallPosted by Erika Janunger Mon, November 18, 2013 14:24:23 The following step was to take the dancers indoors and see what other qualities of movements a steady and flat leaning surface would create. Also this time we let the dancers go wild with it, after first introducing the choreographic qualities, having them watch one another on the monitor giving each other advice.
Even though me and Oscar has quite a bit of knowlegde having danced and filmed in a number of outdoor slopes before, we were both amazed at how different a clean floor was from a grassy hill. The movements were much more controlled and the dancers would take more chances and stretch their abilities further on a steadier ground.
First thing we discovered was the intense focus that affected everyone in the room. All of the dussin remaining spectators stayed dead still in front of the monitor, however cheering loudly if someone would make a move that really worked.
We also discovered that the movements created could have either a poetic emotional quality aswell as a really comical one, all depending on the music chosen and the emotional quality of each dancer.
Below are some pictures of the experience. The chairs are a Färg&Blanche product called FAB chair.
Here is the result, produced by the dancers themselves:
Longing to fly/Longing to fallPosted by Erika Janunger Wed, October 30, 2013 22:51:56 While the set was beeing lit up properly, and nicely framed in black textile, me and Oskar headed outside for a start up workshop with all of the dancers of Norrdans.
First stop was and old abandoned gravel pit, covered in grass. The slopes there are quite steep and has no annoying background to ruin the illusion. It had been decorated with a sofa and a chair, firmly attatched to the ground.
We let the dancers just go wild with them.
Here is the result, produced by the dancers themselves:
Longing to fly/Longing to fallPosted by Erika Janunger Thu, October 24, 2013 19:15:59 Today our techician Hasse had to work at another location, so we took the time to spend almost the enire day together with our photographer Johan. The three of us, Oskar, Johan and me, squeezed together in a pickup truck and drove around to all the locations where we will be shooting. Gravelpit, woodchip pile, warehouse and also to an old overgrown gravelpit where we will be holding a workshop for all of Norrdans dancers on tuesday and wednesday next week, just before the acctual filming starts.
gravelpit number 2.
It was a great day, warm, sunny an a lot of fun. We ended up making some great, slightly rash decisions, like the one where Johan will be driving a skylift 70km on the highway, to be able to shoot at an extra intresting angle. The things we do for art…
In the warehouse things are starting to take shape, we did some finishing touches on the paintwork and also cut and measured up the flooring. All in all, we will be ready for the big tilt tomorrow! Exiting!