FROM WHERE WE ALREADY ARE

DIRECTING MY FIRST COMMERCIAL JOB IN THE US, THE QUIET PIECES THAT ALIGNED FORM A REASSURING PICTURE...


A few months back I won my first commercial gig in the States with the gorgeous people at Picture Farm: a couplet of small, quiet stories for an energy company focussing more on renewable energies.  With no VFX or overly present visual trickery, it was a discrete way to jump into the pool; not so much a dive bomb in the deep end or wailing scream thrashing my way past equally noisy children, but a no nonsense slip into the slow lane to begin my warm up. 

Teaming up with my long time collaborator and fellow Australian abroad, Josh McKie, they posed a quintessentially old-world wedge of Americana, one that I am entirely unqualified to say I understand, no matter how much Spielberg or Reiner I may have watched in my yoof. Yet in many other ways — and for those who catch my almost daily posts across social media — these stories are a natural next step; I know our future is with a healthier attitude towards our planet, with more women in the roles that shape it.  Whether it's going to Antarctica with a team of ambitious female scientists or cheering the successes of those nearest and dearest to me, I try to help that future come to bear in any small way I can.  Sometimes it feels like that's all I should be doing.

 

"NO ONE MENTIONED QUOTAS OR AGENDAS. IT JUST HAPPENED ORGANICALLY, WITHOUT ANY FIGHT, FUSS OR FANCY PANTING"

 

So it was a nice surprise to find ourselves on the second day of shooting these two spots with a group of smart, well intentioned creatives in a sleepy corner of Kansas, having the realisation that not one main character was male (in one spot the cast is entirely female) and that of the main cast, only one face was white. While the diversity happened with some deliberateness, the entirely all female cast was a complete accident (at least at our end).  No one mentioned quotas or agendas.  There was no discussion about whether we should insert a guy or girl in a scene.  It just happened organically, without any fight, fuss or fancy panting.  Not to mention the cast were all either first timers or actual Westar employees.  What naturals.

In that way, it was a small sign that in this day and age where it seems bullies hold sway as women share countless stories of male-inflicted torment, we can note a small sign that the future we are fighting for is already here, quietly slipping unnoticed into the pool to ensure, stroke by stroke, the future Us have a decent world to enjoy it in.

CREDITS
Client: Westar Energy
Agency: Callahan Creek
Agency Producer: Jon Hardesty
Agency Sr Art Director: Chris Ralston
Agency Sr Copy Writer: Kevin Faddis
Director: Kess Broekman-Dattner
Producer: Laura Cartagena, Tom Hipp
DP: Josh McKie
Post Supervisor: Leslie Yoon
Post Producer: Monique Robertson
Editor: Chris Boniello, Rodrigo Balseca
Assistant Editor: Matt Egan, Jose Roman
Audio Mixer: Explosion Robinson
Colorist: Roslyn Di Sisto, Nice Shoes
VFX: Claudia Perez

PUT THE YOU IN HERMITUDE: CASTING CALL


CAST NEEDED FOR NEW MUSIC VIDEO "THROUGH THE ROOF" BY HERMITUDE (ELEFANT TRAKS).  

SHOOT DATES: 19th & 20th DEC.
LOCATION:
IN THE GREATER MELBOURNE AREA.


We're looking for people to feature in a music video for sonic joy maestros Hermitude; a slice of fantasy where burnout cars dance and sentinels live in tyre smoke.  Check out the info below...

TEENAGE BOY
(UPDATE 9th DEC: THIS ROLE CLOSED)

Lean, quiet, guarded.  On the cusp of adulthood. Age 17—22.

PASSENGER #1

Best friend of our hero driver, burnout veteran.  Male, mid/late 30s, equal parts cheerful and hard looking.  Must be of islander or indigenous decent.

PASSENGER #2

Skinny, exuberant, not very cool.  That’s why he’s in the back seat.  Male, early/mid 20s.

GALS 1 & 2

Laid back, natural, slinky. Mid/late 20s.

EXTRAS

Don't fit the brief above but interested in being involved in Hermie's latest? We're looking for extras to feature: young, old, short, tall, send us your face and we'll throw you into the mix!


If you or someone you know is interested, write our producer Hannah Bellil with a clear, well lit headshot and contact details: hannah@kessbd.com.

Big love and thanks in advance,

Kess BD & The #TRT Team x

RELEVANT LINKS
https://soundcloud.com/hermitude
http://ohyeahwow.com/
http://www.kessbd.com/

SEE MY BESTS

AHEAD OF MY WORK AND PLAY ADVENTURE FROM ONE SIDE OF AMERICA TO THE NEXT, I THOUGHT I'D CUT A NEW TASTING PLATTER OF MY WORK SO FAR.  HUNGRY?

When I cut a reel montage, I'm looking for the best bits without throwing in all the best bits like I've gone to the buffet and loaded up my plate with every one of my favourite chocolate mousse.

May or may not have got it right, but one thing I did realise is how many people I've worked with that make my bests better than I could have ever hoped for.  There are too many names to name all names, but there are a few names I must name.  Namely:

CAST
(all the bands and artists aside) Ruby Hedigan Dattner, Defah Dattner, Andre Cefai, HIT 'EM dance crew, Jason Coleman's Ministry of Dance, Tania Groba, Sebastian Sarria, Susie Mandley, Craig Dew, Clement Lazarro & Cristin Daniel 

PRODUCERS
Ema Thornell, Sonia Esposito, Briony Luschwitz & Nic Cox

1st ADs
I'm looking at you, Crofty.

DoPs
Edward Goldner, Josh McKie, Stefan Duscio, Shelley Farthing Dawe, Katie Milwright, Jody MustonSimon Ozolins

PRODUCTION DESIGN/ART DIRECTION
Danielle Bain, Genevieve Shrayer, Joāo Oliveira

CHOREOGRAPHY
2ndToe, HIT 'EM dance crew & Jason Coleman's Ministry of Dance

EDITORS
Tim Egan, Ryan Brett, Suga Suppiah, Elodie Fouqueau & Caitlin Spiller

SFX
Lizzie Sharpe, Tristan Lucas, Taryn Gionis & Joel Gionis

VFX
Zero One Animation, Canopy VFX, Javier Roca, Manimal Post & Michael Shanks

COLORISTS
Roslyn Di SistoFergus Hally, CJ DobsonManimal Post & Daniel Stonehouse

There are (and will always be) more, but for now, thank you, bests.  You're the bestsetists.

Kx

Everything to date. August 2014. Music: Best for You by Batucada Sound Machine: http://www.b2kda.com/ 

SONS, WE WANT YOUR MOTHERS (AND YOU TOO, PLEASE)

THE NEW MUSIC VIDEO FOR JIMBLAH'S "SING WITH YOU" (ELEFANT TRAKS) IS A LOVE LETTER FROM SONS TO THEIR MUMS. AND WE'RE LOOKING FOR BOTH.

webbanner.jpg

CALL OUT TO SONS AND THEIR MOTHERS FOR MUSIC VIDEO SHOOT SUNDAY 2ND OF MARCH

We're shooting a music video for Elefant Traks' Jimblah and his tune Sing With You.  Inspired by the brave acts of his single mum, Sing is a bright little tune that brims with timeless adoration.

Our clip is not only celebrating Jimblah's story, but those of mothers and their sons from all corners.  We're inviting mothers and sons to come together to honour their history in creating a collaborative art installation.

Shooting at the old Mont Park Asylum at La Trobe Uni, Sunday 2nd of March from 10am to 3pm the exact details of the project will be held from all participants until the day to ensure total spontaneity.  

But as a preview: Sing's clip is a collaborative, creative art piece that attempts to leave something better than when we found it.  In doing so we hope to get people thinking about the nature of women and the age old instinct to create homes of nurturing and safety, as well as reveal the vitality and vision that comes when the generations work together.

All interested parties should send headshots of mother and son, along with names and contact details, to: producer@kessbd.com.  

Note this is a voluntary piece of play for all involved.  Sumptuous food and drinks will be served to take the edge off and ensure all are happy and well fed.  Then comes the endlessly warm and fuzzy glow that will come from all you mums and sons, captured on film, working together to make something beautiful, borne of something beautiful . . . 

Here's to that.

Kess


Relevant links:

http://www.elefanttraks.com/
http://www.elefanttraks.com/jimblah

MUSIC TO ROAST YOUR CHEST AND/OR NUTS BY

COS WE DON'T DO CHRISTMAS CARDS ANY MORE

It's gonna be a really toasty Friday here in Melbourne.  Gonna go fling a frisbee around in it, probably with beers.  If I'm lucky we might BBQ something.  

Cos some people have asked and cos Friday's a good time for giving ahead of the best day in the year for giving, here's a playlist I've been building for exactly the above, for exactly us.

From Aretha Franklin to Zee Avi, Ethio-Cuban farmhands to Melbourne Nu Soul pioneers, it’s all meant for one thing: to keep our times in the sun happy.  

Feel free to follow and send suggestions to your eardrum’s content.  It’s a work in constant progress.  

Merry, sweaty Xsmash, all.

Kxx

AM I SEXIST FOR WANTING A WOMAN?

IN AN INDUSTRY DOMINATED BY MALE DIRECTORS AND TECHNICIANS, IS WANTING A LADY PRODUCER INNATELY SEXIST?

LOSE-HIM-IN-A-MINUTE.jpg

I was at an industry Christmas party the other night, and a senior producer, for whom I have a lot of respect, said something I thought both gobsmacking and incredibly interesting.  She had been helping me with finessing some copy for an ad just gone out in Portfolio and Reel, searching for a producer for my short film The Embrace.

In the original copy for the ad I had suggested that a female producer would be welcome, since the film deals with a sensitive issue, with a strong female character.  With two male writers and a male DP lined up for production, I was certain the project could benefit from having a female decision maker in its creative core.

A few days before the party, the copy had come back from the producer, with that gender stipulation gone. At the time I thought it was to ensure I cast my net as wide as possible.  Made sense.  So I flung net.  Wide as.

The image used for our P&R call out.  Took me forever to come up with that tagline ...

The image used for our P&R call out.  Took me forever to come up with that tagline ...

And then at the party, while chatting with this very senior, very female producer about the film, I brought up the desire to find a woman, and she fixed me with a softened certainty (it was several drinks into the soiree) and said with a casual, indirect disdain "don't wanna be sexist".  Like I had chosen the wrong tie for the wrong shirt.

I laughed it off and challenged her lightly about it, but I admit it that was a curve ball.

I guess I was taken aback that wanting to balance out crew with a person of a particular chromosome mash up could be considered sexist.  To me it felt like a very deliberate, very sensible desire to achieve balance — and, even more importantly, credibility.  I don't want to be another male in a male dominated industry, telling a story featuring a strong female character, only to have a complete absence of any strong female characters as key decision makers in the production.

More so, it struck me as bewildering that this comment was coming from a woman.  A senior woman.  Who then moments later, when I challenged her admitted that women make better producers, concluding that I what I really want is the right person for the job, regardless.  And yet ...

It may come as no surprise to some that this is on my radar at all.  My mother Fabian Dattner does a lot of work encouraging women to become decision makers in our world at large, and I've helped her call to action get out in as many ways as I can.

What do you think?  Are we still at a point where even the smallest aspiration at quotas can be considered sexist?  Are we so anxious not to be sexist we become sexist in our desire to be sexlesst?  Of course I want to find the right person for the role, but what if one of those key factors is gender?  Could this, after all, be one of those moments to celebrate our differences?  Where do you draw the balance between finding the right person for the job and ensuring you gals aren't left to dangle in various production roles while the decision makers all stroke their stubble and talk their talk?

I'll see how we go. Our net is cast.  We are looking for a producer, after all.  One who fits the mould.  In every sense.

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HORROSHOW'S END OF THE WORLD

MAKING A LITTLE LOOK A LOT WITH THE HELP OF A TALENTED FEW.

Crafting low budget music vids is always a challenge to my instincts and leanings (namely big and beautiful), but our clip for Elefant Trak's Horrorshow and their latest single Dead Star Shine went live over the weekend, and been doing well — much to our joy and surprise.  We knew we'd done something the band dug, but that fans out there have been responding so positively is a real boost.

photo.JPG

It's nothing unusual, but you pour your energies and time into doing something for weeks (and in this case, months) on end, so much that you lose almost total objectivity. For film makers that often becomes an exercise in faith, one that can cause all sorts of anxiety attacks and superfluous uses of the word "great" ... That said, there will always be beats in my work that I dig, and the final shot of this clip still makes me simmer.

Here, check it out.

YOUTUBE

OR VIMEO

After a 2 day shoot braving cyclone force winds and even stronger mosquitos (including a half day of pick ups), several weeks cutting with Method's Suga Suppiah and a whirlwind but satisfyingly luscious grade with Roslyn Di Sisto, I got to do some pretty cool tech stuff I've been wanting to try out for ages. 

Most starkly, shooting day-for-night (with the incredibly talented Josh McKie, now over in New York and soon destined for greatness), working on VFX that I'd intended to do inhouse at Collider, but due to scheduling had to farm over to Melbourne wunderkind Michael Shanks.  Much to my good fortune.  We spent hours in his bedroom, watching him drink tea in his underpants and finessing skies and meteors as much as humanly and financially possible.  Always struck time and again by his uncanny ability to instantly find ways through After Effects to create vision that looks almost Maya worthy.  If you haven't checked his trailer for Time Trap yet, I thoroughly recommend you do:

For me, Dead Star Shine has been the closest I've got yet to the sort of vision I want to capture.  Silky, stylised and fantastical, with wide angles, long takes and graceful camera work.  While there are things I would change and lessons I've learnt, I can say that the label's generous words that "the atmosphere and ideas were executed perfectly - something that's a little rare when working on a tight budget" feels justified.  

For me, this clip represents a pretty decent blend of capturing the attitudes, moods and personalities of a band (which is always my main aim and why the aesthetic and execution of the work can vary from song to song) with my own cinematic and narrative leanings.  

Not bad for something produced on the smell of a cupboard which once housed an oily rag box.

COO-EE

Coo-ee is a section I dedicate to moving you on to somewhere or someone in the world doing work I reckon you ought to check out.  So this post I cup my hands to my mouth and shrilly cryout: JOSHHHHHH MCKIIIIIIIIEEEEE

He's the guy who shot this clip and is now over in the states making a name for himself.  I've worked with quite a few DPs, but Josh is one of the few who brings an insane level of preproduction commitment, a near flawless sensitivity to vision, a tenderness with crew and cast and an impeccable visual eye.  He's still early in his career, but if I had my way, I'd work with him on everything.  Somewhere deep down, I pray for his entirely unlikely failure in the states, so we get to have him back here again.  Check out his work below.

http://www.joshmckie.com.au/

http://www.joshmckie.com.au/

THE SNOWDROPPERS WANTS TO CRASH AT YOUR HOUSE

We're looking for a house to shoot the new music video for The Snowdroppers and their latest Moving Out Of Eden.  Tue Feb 12th, in or around Melbourne.

THE SNOWDROPPERS WANTS TO CRASH AT YOUR HOUSE

Ever fancied seeing your living room put to good use on screen?

We're looking for a space to feature in the new music video from NSW's The Snowdroppers.  Whether it's a rustic wood cabin or retro Aussie chic, we're totally open to suggestions.  It just has to be:

• LARGE (see the floorplan below), with the ability to be dressed by our experienced production designer

• Within 45mins of Melbourne

• Donated, in return for which ABC and Four Four will load you up with as much Snowdroppers merchandise and gig passes as they can muster

WHEN?
Tues 12th of Feb (exact times TBCd)

WHO?
The Snowdroppers will be accompanied by a professional crew including director Kess Broekman-Dattner and cinematographer Edward Goldner.  Our crew are 100% experienced with shooting on location and will treat everything in your house with upmost care and diligence.  

All enquiries and kind offers should be directed to kessbd@gmail.com, along with as many photos of the space as you can manage.

For more, visit:

The Snowdroppers: http://snowdroppers.com/
Kess Broekman-Dattner: http://www.kessbd.com/
Edward Goldner: https://vimeo.com/58447084 


The Villain People

The Villain People

Here's a lesson I learnt: When you're less than 24 hours out from a minutely funded music video shoot and you haven't got one half of your cast confirmed — scrap that: when you haven't even MET one half of your cast to see if they're interested — don't fret.  It'll alllllllllll work out.

That's what happened here.  I don't mind playing things tight.  But I'd been chatting with the incredibly lovely Hermitude lads for weeks about turning their track from HyperParadise into a playful comment on the follies of us vs. them, and I gotta admit I thought I mighta had this all sorted by, y'know, 6:30pm on the night before shooting.

Jason Coleman's Ministry of Dance had very kindly supplied four young'uns to play our bandits, and they were all confirmed a week out.  On the day of rehearsals we had no krumpers there for it, but we blocked out some of the action, got the guys into their roles, and relied on fate coming to the party.  We also drank tepid ice tea and Aldi nuts.  Never say I don't look after people.

Less than 3 days out from shoot date, the security team was still a twinkle in my eye.  Getting through to the dudes was like trying to herd entirely disinterested and very busy cats, remotely, from another continent.  Text messages went for hours, or even days unanswered.  Mobile numbers wouldn't work.  Return calls never made.  But all the while I was being fed little nuggets of interest that meant I was always left with a grain of hope that all would come to fruition.  I was reminded of various stories you hear of working in countries where relationships with time are vastly different to the Anglo norm.  I remembered the advice: just go with it.  So I did.

Sure enough, the night before the shoot, I hung out at RMIT basketball courts, the regular rehearsal spot for the HITM crew, met a whole lot of awesomely sweet dudes who chuckled their asses off to the timing video of the song, and signed my wish list up for the next day.  Whence I wept with relief and ate my first meal in days.

Of course, on the day their car ran out of petrol and they rocked up 2 hours late, but you can't fault their performance.  Those boys brought an infectiously playful presence to set which had everyone grinning, with moves holding a snappiness, attitude and infallible good humour that is the inherent wonder of krump.  For a shoot that had barely four and a half hours to work in, illegally, in daylight, in the midst of one of the most high end precincts in the city and one side of the cast entirely unrehearsed, it was an ultimate lesson in going with the flow.

It's a lesson I plan on learning just the once, mind.

WATCH ON VIMEO

WATCH ON YOUTUBE

FROM THE DAY

 

COO-EE

Coo-ee is a section I dedicate to moving you on to somewhere or someone in the world doing work I reckon you ought to check out.  So this post I cup my hands to my mouth and shrilly cryout: HITMMMMMMM DAAAAAANCE CREWWWWWWW
So it's both unfortunate and perfectly suitable these boys don't have their own website, since that's not what they're about, but if you want to see more of their slick moves and those of krump crews around Australia, no better place to start than The Real Ozkrump Community's facebook page: https://www.facebook.com/groups/237632286360025/.  Go over, join, and see that for all the posturing and apparent aggression, krump is a style of incredible athleticism and good sportsmanship, deserving of all the support it can get.  You mighta checked it here, but seeing it live is another experience entirely ...

 

BOWDITCH VIDEO: Calling all naked people! UPDATE: Casting now closed.


MUSIC VIDEO SHOOT THURS 2ND AUGUST / COBURG STUDIOS
THIN SKIN BY CLARE BOWDITCH

UPDATE: CASTING NOW CLOSED.  THANK YOU TO ALL WHO HAVE KINDLY SUPPLIED THEIR SELVES!

BOWDITCH VIDEO: Calling all naked people! UPDATE: Casting now closed.

Clare Bowditch has a new single out called Thin Skin, and we're going to shoot the video for it Thurs 2nd of August, in a studio in Coburg.

We're looking for people of all walks of life for a brave, beautiful and playful concept about not shying away from your emotions.

We'll be filming people, one at a time, jumping on a trampoline at 3000 frames per second.  Then we'll ask you to take off an item or two of clothing.  Then jump on the trampoline again.  Finally, we'll have you jump a third time on the trampoline. Naked.

Be you life model or casual exhbitionist, this project will be a lot of fun for a music video that seeks to remind everyone of what lies beneath the things we surround ourselves with.  All who bare their souls in the name of art will be paid $100 for their time (approx 2hrs) and receive a double pass to any of Clare Bowditch's shows.

Our only requirement is that you're fit and able to jump on a trampoline and have no tattoos.

Send all expressions of interest, with head shot, to kessbd@gmail.com.

Look forward to hearing from you!

The Thin Skin Team

I GOT BRRRRRNED - The Making of The Bamboo's Latest Music Video

I GOT BRRRRRNED - The Making of The Bamboo's Latest Music Video

It's not very often you stand in an old country house, staring past plasterboard bowing out from the wall, through windows looking onto a gloomy southerly aspect, and feel a tingling knot of primal fear in your stomach.  

But after the owner of the house put her hand to her chest and said emphactically 'this is the bad room.  This is where the bad man is", I found myself working hard to keep that prickling sensation at bay.  And it wasn't because I'm easily sucked in by stories of ghosts.  I'm not.

Leaving the foreboding home minutes later, my details exchanged, I was grateful.  The alien sense of unease was lifting and I was filing the whole experience away in my catalogue of notable otherworldly experiences, comfortable with the thought that at least we didn't have to use it for a location. 

Of course, we did.

I GOT BRRRRRNED - The Making of The Bamboo's Latest Music Video

 

I had been hunting for locations for the new music video for the Bamboos called I Got Burned — a swaggering Memphis-inspired rock and roll tune featuring an Australian rock icon — and finding very little.

The clip demanded a low built, timber country home, the sort two couple might have made were they very much in love.  60 odd years ago.  

Speeding around in my black, dust covered Celica with absolutely no air conditioning, I was at the end of my 2nd day with very little to show but sweat patches and a renewed appreciation of climate control.

Somewhere north of Epping, west of Whittlesea and south of Sydney, I happened to spy, atop a hill in the middle of gently rolling farmland, a cluster of trees and the hunched bulk of a country home.  Driving down a long, tree lined gravel drive, I found myself parked outside what looked to be the perfect place.  Weatherboard, white, it didn't have the front porch with steps leading down to a drive that the script required, but it had exactly what all the other potential locations didn't: character.

When I stepped onto the front porch, I could hear distant voices.  

'Hello?', I offered into the gloom of the front entrance.  "Hello ..?"

Silence greeted me.  Perhaps I heard the distant hissing intake of a disapproving breath.  Perhaps it was the wind in the trees.

 

On the back porch sat the owners Rebecca & Joe — sipping a GnT and VB respectively — and Bosley, their rotund labrador, who at that moment was sporting a very fashionable pair of fire-engine-red doggy shoes.

After Bosley and I caught up (he appeared to have missed me greatly since the non-time we'd last not-met), I was greeted warmly by the owners who were all too happy to show me their place in aid of my Bamboos project.

"Of course, our place is totally haunted," said Bec over her sundowner.

"That's fine," I said, brushing it off, "so's mine."

 

"Mate," said Joe, "I moved into 2 years ago.  Didn't believe in ghosts or anything."

Joe had the soft features of a man of friendly character, but who carried a no nonsense tradey's sensibilities.  I could see the harrowed look uncomfortably in his houndog eyes.

"I woke up one night, felt this presence standing above me, you know?" his face drawn down at the memory of it.  "I didn't see it, but I could feel her watching.  Now, I don't sleep with the door open, nothin'."

"Yeah, she loves me, but she really doesn't like you, does she Joe?" Bec said with something akin to relish.

"Jesus, you guys," I finally let out, standing there and feeling the oppression weigh down, whether imagined or no, "how can you keep living here?"

"Oh, you just get used to it, don't you?" said Bec, turning to her husband for confirmation, "besides, she really loves me."

 

Of course, everyone I mentioned this to said we had to film in the house.

And as we neared the shoot date and no other options arose, it looked like we did.  When, the day before we were set to shoot and desperate for the house, Bec came back to us asking for a location fee that basically overwrote any renumeration I was going to walk away with, the decision was simple: ghosts or no, payment or no, we needed that house.

With a modicum of reluctance and a dash of perverse anticipation, I had to admit: we were heading to the Overlook hotel, and there wasn't nothin' I could do about it.

 

To the spirits of the house," I whispered from inside the cabinet of a bathroom the Prince had ordered built.

"I ask for your ... forgiveness.  And permission.  I promise you we come with the upmost respect and ... good will ... and ..."

Snatching a moment to myself I was finally, for the first time in my adult life, behaving as though the spectoral otherworld existed.  Perched in the tiny bathroom of this house, asking ghosts to let us film while the crew moved purposefully through the hallways, it was a strange, new experience.

"Do not be afraid ... we come to honour your home and do it ... justice."

Then, for no other words came mind: "thank you."

And for good measure: "thank you."

 

After all that, I stepped in to the headspace of a shoot and put all notions of a haunting out of mind.

Although standing in the living room again, I admit I felt my hackles raise.  And at another point I noticed one of the paintings in the hall at an odd kilter. I quietly righted it.  

But when you're shooting the likes of Lance Ferguson and his secret guest rock 'n' roll royalty vocalist, you do find yourself with other things to focus on.  Especially when you're shooting everything in one take, at magic hour (that moment after sun down) on steadicam, from exterior to interior, with a signficant light change that needed to be set up in 15 seconds ...

At one point too I almost drenched the RED Epic we were shooting on with a voluminous jet from an unhitched gardent spout.  Which was another of those moments fate could have diverged us on an entirely different path.

Suffice to say, for several hours we had more than enough to think about beyond possible retribution from the other side.

Until dinner.

 

Everyone sat in disbelief, riveted, roast chicken half forgotten, several spines chilled.

Bec, Joe and their cousin had all regaled us with their frightening stories.  Juddering beds, games of cat and mouse in empty hallways, sudden grabs from behind, feet pounding across floorboards, even a posession.

As pulp paper back as it sounds, it was enough to unsettle the whole synergy of a shoot, and I was glad it all got delivered to us afterwards, over a reassuring roast and cold beers.

"I'll know tonight or tomorrow if she's upset," said Bec to me later as I thanked her in person.

"Don't worry," she said to my noise of foreboding, "she'll only hate you, not me."

 

"I saw her for the first time a couple of months ago," Bec said from the Bad Man's room.

 "I was getting ready to leave, in the car, and I looked up at this window—" she indcates the bedroom panes "—and out of the corner of my eye, I saw her at the curtain, like this:" Bec mimes retreating from the window, closing the curtain.  "And I thought to myself, I have got to get out of here!"

Seems even if Rebecca knows she's liked, the terror still holds sway.  

Which is kind of neat, considering the nature of this clip, the nature of this song, with a theme that explores blame, the notion of two sides to a coin.  'He that makes his bed ill, lies there' was the quote I opened the clip's treatment with.  And finding ourselves in a house apperently dogged by the lingering presences of people who have refused to move on, a woman who alledgedly loves one owner of the house, but struggles with the other, we found ourselves with a whole other incarnation of the theme.

Even in death, it seemed, blame lingers on, to make grateful heroes and unwilling scapegoats of the living.  Rather apt, that.

And how about you?  What stories have you got of encounters from beyond the grave?  Favourite films on the subject?  Or classic stories you always thought would make the perfect transition to the screen?

IF YOU FANCY, FOLLOW FROM ON HIGH & STAY TUNED FOR THE RELEASE OF I GOT BURNED IN THE COMING WEEKS ...

 

———————

COO-EE

Coo-ee is a section I dedicate to moving you on to somewhere or someone in the world doing work I reckon you ought to check out.  So this post I cup my hands to my mouth and shrilly cry out: PAUUUUUUUUUL PHILLLLLLLLLIPSOOOOOOOOOOON!
All the photographs you've looked at today come from the roving eye of Paul Philipson.  Gleefully sardonic, entertainingly cock sure and possessing a sensibility that captures the perfect mix of style and humanity, he is a rock and roll photographer in the greatest sense.  You can view his work at paulphilipson.com.au or email him direct at info@paulphilipson.com.au

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THE BAMBOOS MUSIC VIDEO CAR CALLOUT

CAR REQUIRED FOR MUSIC VIDEO SHOOT TUES 24TH JAN IN OUTTER MELBOURNE

THE BAMBOOS MUSIC VIDEO CAR CALLOUT

The Bamboos are set to make a new video and we need a beautiful old car to feature.  Got one?  Know someone who does?  Preferably a Holden, preferably dusty and dirty, preferably free — but polite seekers of your generosity can't be choosers, so suggestions welcome ...

For more info or to submit your stallion, write to kessbd@gmail.com.