Sunday, 18 March 2012

TATSUKO supporters

A big thank you to the following patrons who have pledged support for TATSUKO.
please visit their websites.

Yvette Brown                www.smallbrownbird.co.uk/
Gillian McIver-Tanbouli    www.artsite.org.uk/
                                    www.studio75.org.uk/
Carole King                    www.carolekingart.co.uk/
Mike Hall                       http://michaelhall.vpweb.co.uk  
Clare FergusonWalker     http://www.cfwdesigns.co.uk/ 
White Lion St. Gallery     http://www.artmatters.org.uk/
Liz and Peter Bellamy     Pen Pwmp Gallery; Upper St. Mary st. Newport SA42 0TB
Mike and Marion Dawe    http://www.secludedbedandbreakfast.co.uk
John and Jana Ellis         http://www.johnelliseone.co.uk/
Rozanne Hawksley         http://www.rozannehawksley.com/
Barbara Price                 http://www.barbaraprice.co.uk
Zara Kuchi                     http://www.zarakuchi.co.uk/
Paul Steffan Jones         http://p47sj.wordpress.com/
Les McCallum                 http://www.spencermac.com
Gaynor McMorrin            http://www.mcmorrin.co.uk




Saturday, 17 March 2012

TATSUKO: storyboard panels on offer

 Sheet 1: Stranger crossing a Landscape

 Sheet 2: From Orchard to Studio

 Sheet 3: The Art Installation

Sheet 4: The Upstairs Studio Space

 Sheet 5: Intruder in the Bedroom

 Sheet 6: First view of House/ through the Woods

 Sheet 7: Intruder enters the Studio

Ten sheets are available and each come with production postcard and brochure, both signed by members of the production team, an artist-printed screenprint limited to an edition of 100, and a signed copy of the book, TATSUKO.
Supporter's name and website will also be added to Blogsite list, the supporter's page in the book, and on the final credit roll of the film itself.
Available in exchange for a pledge of £200
[N.B. watermarks are absent from the actual storyboard sheets]

Friday, 16 March 2012

Going fast, getting nowhere:

 Richard is a fellow Yorkshireman relocated to Wales with a penchant for bikes and custard..... His blog ranges far and wide and is both entertaining and an exercise for the grey matter. Thanks to him for posting the following


Going fast, getting nowhere: Art film project - can you help?: Last May, I posted about a visit to Aberglasney Gardens and an encounter with Glenn Ibbitson, an artist who had an exhibition there at the ...

Thursday, 15 March 2012

TATSUKO: Camera Capture scene

Elements of set-dressing for pivotal scene.
While the stranger rifles through the drawers and pores over the objects around the bedroom, he inadvertently triggers  camera, set on delayed timer. This captures his image, or some part of it... this will become important later in the film.
 Collaged paper box by Glenn Ibbitson. More work at:
http://www.smokingbrushfineart.com
spiral-cut wood 'Skwirm' by Steve Thompson. More work at:  http://www.stevethompsondesigns.co.uk
 'Crocosmia' oil on canvas by Carole King. More work at:
http://www.carolekingart.co.uk


The resulting image is not immediately clear, but acts as a 'footprint in the sand', evidence that there is some presence in the house...

Saturday, 10 March 2012

Gitte’s Nose; representing the passing of time in cinema.

 
The events recorded in “Tatsuko” take place over the course of about a year. This time-frame is essential; it is one of the reasons I was so drawn to the original source material in the first place. My task is to convey this fact to the audience, through a series of signifiers, without falling into the trap of over emphasis.
Silent films inserted caption cards into the scenario, rather like chapter headings, white lettering on black guiding the audience in time to ‘one week later’; ‘three months later’.
Then visual signifiers developed –notably the curtain blown by the wind to indicate time passing during a scene of love-making [perhaps as little as four minutes?]
In the 1930’s and 40’s the hourglass and the clock marked the passing of minutes or hours; the calendar, its leaves being torn away, or the diary, its  pages being turned or blown into deep space, indicated the passing of months and years.
A voice-over was deemed necessary to impart chronology in Kubrick’s “The Killing”, but which served the material poorly, reducing a film with an interesting visual structure to the level of a B-movie which didnt trust its audience.
The character – his clean shaven face developing a beard became a standby of the testosterone –driven war film which followed troops through a gruelling campaign. As it is important for the atmosphere of my film that one sees nothing of the stranger’s face, this was not an option here.
I confess my favourite cinematic sundial can be found in a 1970’s film by Roman Polanski; possibly the best of any of America’s forays into  film noir. In “Chinatown”,
J.J. Gitte’s nose is a wonderfully original indicator of time passing. It begins unsullied, is then slashed by a [rather short] ‘heavy’. Thereafter, time is measured visually from almost full-face gauze mask with adhesive plaster covering, through diminishing sizes of dressings, to revealed stitches…
No opportunity for such a bravura concept presented itself here, perhaps for another project…

I was looking for a structure less obtrusive, something in keeping with the visual style and which might simultaneously work on a second level.
The time passing in “Tatsuko” is measured en passant by shots of tree foliage through windows, and by the wildlife which captures the stranger’s attention. A Pied Wagtail, its striking plumage fluffed up against the bitter cold of winter. The Spotted Flycatcher, a spring visitor gathering nesting material. The Small Copper butterfly of high summer [seen through the intruder’s eyes; one of the shots which reveals a thoughtful rather than a brutal nature]. The autumn/winter flocking of Lapwings to the area. I am assuming that most of the audience for this film are sufficiently in tune with their natural environment to register these indicators subliminally and accept that they have been guided through a year, over the course of the 40 minute running time. The second level at which these indicators should work relates to their situation. They are on the other side of glass; free. Though the stranger has entered the house and is staying of his own volition, all indications suggest that he is locked in through the day when his host is away from base, watching the birds insects and trees beyond the pane…




Thursday, 8 March 2012

A Stranger...

 
He is the figure in the landscape you never forget. You encountered him on long distance high level walk. The ground underfoot was uneven, eager to twist an ankle should the opportunity present itself.. He first appeared as a distant, dark smudge on the ridge skyline. He grew into focus at an exponential rate as he approached. Almost unbelievably quickly, he was passing you. He mumbled some sort of acknowledgement, but his eyes were fixed on a point in the distance beyond your shoulder. You covered a further couple of hundred metres to an outcrop, then stole a curious glance back to where the hooded figure should have reached...
… and he was nowhere to be seen. Had he already crossed the fell? That just wasn’t possible, surely? You pondered, then continued to the cairn on the horizon, your equilibrium now faintly disturbed.
That evening, with friends, you were reminded of the stranger during an unrelated conversation. You mentioned him. Someone asked what it was about him that had stayed with you. You considered for a moment; it wasn’t his face; that was covered against the wind; nor was it either his build or height. Then you isolate that detail which had made the stranger so extraordinary. He held no map or guidebook; he didn’t even carry a rucksack… and at that moment, you realised that this stranger would remain in your memory forever.

He is independent; he carries no food or possessions. He traverses the surface of a desolate landscape; foraging on the carrion, roadkill, fungi and fruits it meanly offers up.  What he does seem to have is purpose; heading towards some destination he may or may not know from a time before now.
The camera accompanies this cagouled figure on his journey. 
The black and white record of his movements is occasionally punctured by brief passages of full colour. These are the moments when we view the world through his eyes; his attention drawn to birds, fruit, paintings, the artist… This decision to allow the stranger these moments of subjectivity place him as the centre of the narrative.
One’s allegiance may finally rest with the artist, whose trust and privacy is abused by his actions, but from the first draft of the storyline, the man in black was always going to be the focus of events.





Wednesday, 7 March 2012

Links to film Trailer and Crowdfunding agency



Tatsuko project developments will be recorded on this site. However, the following links will be useful.






The trailer for the film including the crowdfunding pitch is viewable at:

To register your pledges of support, please go to:
  http://www.crowdfunder.co.uk/investment/tatsuko-652