Author: fentigerproductions

Written by Byron Dean (17/03/20)

So, despite everyone in a mass hysteria about corona. Which is totally understandable. So much so, feeling almost ambiguous, malevolent, and threatening as the vibes of Venice. Elongated, and manipulatively manifested through the eyes of Nicolas Roeg’s 1973 chiller ‘Don’t Look Now’.

Nevertheless, a staggering piece of cinema exploring grief and loss. Visually expressed through repetitions of the colour red, and elements unknown to both the characters within the narrative, and the spectating audience. Confused and rather left unturned, chilled straight down to the bone. Whereby, both the audience and characters are left chasing after shadows. Shadows of uncertainty, yet a vague familiarity. Only to be brutally stumbling into a trap of, ironically, a red herring. Where only death, and bloodshed leads to Donald Sutherland’s protagonist’s demise. Becoming victim to his own rationale, and vulnerable human gullible curiosity. In the hope of exploring optimism, believing the tragic ghost of his drowned daughter in a red coat (at the start of the film) is still alive.

This thought, curious gullible vulnerability reflects well in which information is transferred to us through the tabloid journalism of the media. Where the big print on the front page of the newspaper, or big titled font on your online article translates big words with very little meaning or understanding.

You only have to look no further than the divide between the left and the right wing papers. Where corona virus for example, ‘The Sun’ would explode with one big power word, ‘OFFICIAL: IT’S AN.. OUTBREAK’. Compared to that of ‘The Guardian’, ‘Number of confirmed virus cases in UK jumps to 206 – as it happened’. Taking more technological routes, illustrated through their online blog, updating readers where the cases of the virus were coming from all over the globe.

Yet both sides seem to explore different elements of fear, the right, panic. The left, statistics on why you should be scared. Ironically, both share the same motive of distribution information. Yet, neither informs of any valuable information.

Philosophers such as, Kant, suggest ’empirical knowledge (is a desire) one feels the need for’ (Kant and Weigelt, (2007:207-11). In other words, the necessity of a consistent flow of information. Whereby, the world acknowledges progression, a sense of movement or driving force in information. Much like the way, a child is told a story. That there is a linear, a beginning, middle, and end.

Returning to the matter, recently, Fen Tiger took part in the Cambridge ‘Watersprite Film Festival’, competing in the ‘Arri 10 second short’ film competition. A great opportunity to participate in the overall competition, yet the main prize was the opportunity to work with an arri alex mini camera. The creme-de-la-creme of cinema cameras, shooting a vast amount of films and television programs. From ‘Doctor Who’, all the way to the ‘Marvel Cinematic Universe’.

However, there was a catch. Each team had to endure throwing in 3 items within their films, water, a book, and a lens.

The team’s 10 second short project, ‘Trivialised’. Synopsis, the modern world is in stagnation of authentic honesty. Where does the truth start, and permission to express and limit all end?

A lot of information to swallow in 10 seconds, I know. But really, back to the previous point of Kant’s quote. Information is pouring out fear, like a hose with a continuos spray. So the aim was simple, newspapers, books, and a camera. All throwing about this theme of information, that really means nothing.

From water being poured over big-booming-belting newspaper headlines, perspectively-perplexing-philosophy books ensnaring subtle numbering of ‘1984’, to a cold-canted-camera lens staring down the barrel of the recording camera. All overlaid in monochrome colouring, with sinister whispering. Jumping in-between the ears, ‘Hear no evil, see no evil, speak no evil’. Accompanied by the trickling sound of poured water. A drastic metaphor for the headlines inundating our daily lives.

However, the result I leave to you the viewer to conclude. As the film, the shots, and audio speak louder than just a visual spectacle. More a vision of the truth, what does it all mean. That, I cannot say.

References

Kant, I. and Weigelt, M., 2007. Critique Of Pure Reason. London: Penguin Books.

Here it is! After several months of trying to get together, recording and scripting. The first episode of the podcast is finally out.

Kicking it all of the Arthur and Byron, having a good old reminisce of the previous projects. Shaping what would be Fen Tiger Productions!!

In case any of you were unable to check out our interview with Leigh Chambers on Community radio station, Cambridge 105 Radio.

Here’s our interview, where representatives of the team Arthur Speak, Lana Bruce, and Byron Dean discuss the Company as a whole. With additional pointers of what is next install for the company.

Click on the media below to listen.

Another day, another step closer to getting an important shoot out of the way. The executive team met up earlier today, storing up major equipment on location; bulky tripod and attachable wheels.

Once stored away, test footage was shot in a bedroom on location. All fit to look authentic to that of a teenager exploring aspects of culture and creative choice. Posters and loose artificial lights placed on the walls. The set was finally taking shape.

The footage, successful and clarity of the shot list was good to go for the major film shoot ahead. A day full of promise and great expectation of what was is to come. Bring on the filming.

So here we are, summer. A time where so much can happen in under 3-4 months, though it can fly by quickly.

Having met almost 24 hours ago, not only for a great big catch up over pizza and multitudes of coffee. The Fen Tiger team was discussing progress and alterations with not only other projects with colleagues, but with the debut short film ‘Rise & Shine’. A project the team have been dedicate too since 2016, where pre-production was in full swing.

The discussion came down to exploring the lead character’s life at home, that is the relationship with her parents. Initially starting the project in mind with a full family of a mother, father, and daughter. The issue quickly became apparent after the shoot in summer of 2017 as of who to cast as the parents, and of course their availability.

Having spoken to the executive producer, the option with more clarity was to drop one of the characters. Being attracted towards exploring a mother and daughter relationship, perhaps scrutinising the saying ‘no matter how hard you try, you’ll always end up like your mother’. Removing a full parent family unit, to a single parent family unit. Allowing more subtextual, and social commentary on how similar and dissimilar the mother and the protagonist are from one another. Played through interaction with other characters within the narrative, and individual emotional analysis. All of which will be investigated on set by the actors and the directors.

This, in hindsight, could create more of a harsh reality to this utopia. One that plays more to question the audience’s interpretation of the film, from that of the dreamy utopia to the dark malevolence of the real world. Also, an area we won’t elaborate on, for the sake of giving too much away.

The next step now is to cast the role of the mother, though there is an actor in mind. A self-tape, and a dummy script are to follow to see the actor’s diverse length in character but more importantly, emotional range.

Thereafter, calling back on the ever patient crew to get the gang back together for round 3 of filming ‘Rise & Shine’.