Nash Edgerton

Despite what people says I believe I’m some kind of freak non-fashionable and non-sociable guy. Then I wonder why. Why do I consider myself such a thang? Then I look for an answer to excuse my misanthropic habits, at least those ones I’m used to adopt, while staying in my mythological Island of Chiloé.
Seeking the mentioned excuse I must admit that if there’s something that sucks my brain dry, that shit is the net. Therefore, I kinda believe the existence of the net is the reason of my isolation. Then, my conclusion is that the net sucks. Nevertheless, I must also admit that I love the net; therefore, I have nothing else to do but to accept and tolerate the isolation triggered off by such virtual addiction. What's the big deal with paradoxes? The deal is in getting to understand how they work, and make the right choice, or at least accept your choice witouh regrets. How do I do it then? "I do it by understanding the second as consequence of the first" I accept the pros and contras of everything. I do respect the terms and I dispose myself to them, with joy.

Now, what is that suppose to mean? Spread your “ears” and wide your mind. Allow me to say this: it is part of our nature to be inconsequent, it is normal to break our own rules and principles, as we grow and learn new things, as we feel and acquire new experiences. Paradoxes are part of our so-called “nature”. So feel free, at the time of being judge, to yell and fuck up those who accuse you of betray, for we’re free to change our minds. On the other side, if there’s one only point in which our mind cannot be move, that is when we mature, but just there we die. I don't know if that make sense to you, but it make sense to me, and should make sense to everyone, someday soon. Now, let’s turn to the important point.
Well, it might look like my introductions were just out place, but believe me they are not. In fact, they’re very connected to the very core of every presentation here performed, so watch out what you’re reading.

This fourth post will be about Nash Edgerton. Who’s this buddy? Is he brother of Joel Edgerton? Do they perform for Blue Tongue Films? Please select “yes to all”.

Nash Edgerton was born in Australia, January the nineteenth, 1973. Nash Edgerton is the brother of Joel Edgerton, who played "Owen Lars" in "Star Wars: Episode II - Attack of the Clones"(wow!). In plain words, Nash is not human, I mean, he’s not only a cinema director, but also an actor. As a matter fact, he appeared in Matrix Reloaded and Moulin Rouge. Nevertheless, in what he really shines is on his performances as a “stunt performer” in films like Superman Returns, Dark City, Thin Red Line, Mission: Impossible 2 and the recent Star Wars Sagas. Apart from that, Nash is also an accomplished editor, camera man, writer and producer. In keeping with this, in 2005 he produced the film called “The Magician” directed by Scott Ryan, which was selected to screen at the 2005 Sidney Film festival.

His career as director has been very profitable since his short film “DeadLine”, which won the top prize at Tropfest in 1997. Since then, Edgerton has collaborated in many projects from directing musical video clips to commercial videos for different known brands. On the other side, his closest relation seems to finger “Blue-tongue Films”, Australian Film Company acclaimed for his short films made by mmmm...Nash Edgerton.
Well, about picturing Edgerton’s cinema.., I wouldn’t dare to do that for I haven’t had the chance to watch all of his films, but only three of them.

Nonetheless, I’m sure you will be able to find a lead between every film you’re about to watch, because I did it and that sparked off the introduction you just read. But something is clear, Nash films spit tons of action and most of the time surprise the eye of the observer. So, before the end, I give you the three videos I could find, being two of them his most important works. First, you have one of his most recent features “Spider”, which was the reason why I decided to suggest this novel film director to you. Second, the short film “Lucky”, a much commented work of Edgerton and finally The Pitch, which is…a funny thing? Judge yourselves. So that’s it, now let’s get the hell out of here.

PD: To further information visit the following link:

http://www.thedirectorsbureau.com/bio.php?director_id=21

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"Spider" (2005) Nash Edgerton

"Lucky" (2005) Nash Edgerton

"The Pitch" Nash Edgerton

Bran Dougherty-Johnson

One day more again here.., and right after flying high-high across the outer obscure clouds of my most shameful thoughts.., and having been at the verge of insanity.., it appears a new face, it burns a new glow within my eyes; such as one of those divine lights, when faded in darkness, when crawling in a never-ending labyrinth, it appears with the speed of lightning the hand of God to save your soul. There it comes him, from the ravaging flames of hell, when facing up the Devil, a lie like that shines stronger than the sun..., a lie like that bleeds at night when the clock stops. A lie like that buries your conscience, for God’s light iluminates, but also blinds.

One day, just another ordinary day within the chain of endless ordinary unemployed summer days.., and surfing amongst the waters of the cybernetic ocean I have come to meet the following name, “Bran Dougherty-Johnson”, and his career.

We have 3 things to clear up today. First, the “Who” “is” “Bran Dougherty-Johnson?” Second, the mystery of Grow Design Work and third, the project called “PSST”.

Bran Dougherty-Johnson says:

“I studied Film at Vassar College and then moved to San Francisco where I became a motion-graphics artist at Pomegranit Editorial.I moved back to New York and worked in staff positions at the Attik from 1999-2001 and Brand New School from 2002-2005. I've also done freelance work for Buck, Digital Kitchen, ESPN Classics, Imaginary Forces, Loyalkaspar, National Television, Showtime, Transistor Studios and others...”

What is “Grow Design Work”? In plain words, Grow Design Work is the home to Motion Designer & Director Bran Dougherty-Johnson. “Grow” is a film-making studio specializing in motion-graphics, broadcast design, short film and typography and is not restricted in any way by medium, technique or style. Grow takes a craft-based approach to creating unique works of animation design, working personally and directly on every project. Grow’s work encompasses: Creative + Art Direction, Animation, Design, Typography, Illustration, Character Design, Music and Sound Design.

Now, between Bran Dougherty-Johnson most remarkable and visible productions we have the project called “PSST”. According to the project itself, the north of PSST is to produce original short films through the collaboration of different teams of designers, directors, and animators. Each film is to be comprised in three sections produced by three different teams. This process is the whole idea behind PSST – a technique derived from the Dadaist game of “Exquisite Corpse” and the children’s game Telephone and applied to the arts of motion graphics, animation and film-making (http://www.psstpassiton.com/about.html).

PSST has released two productions so far, being the second one exposed in this third post. The first PSST Project had six films and was released in July of 2006. On the other side, PSST 2 had nine short films and was released in March of 2007. In terms of work mechanics, PSST uses a collaborative process that is based on the idea that the whole is greater than the sum of its parts. At this point, we might remark that to every artist involved in the process of creation, sometimes result very difficult working together amongst other artists, mainly when working over one single object and bound to obtain one single product. In terms of ethics, a product this way made is not the essence of one single artist, but a part of every people involved in the process of creation. In a broad sense, the work realized belongs to everyone, but at the same time, to belong to no one. The idea of Bran Dougherty-Johnson, when gathering different artists from different places; therefore with different cultures, points of view and work’s methodologies is quite outstanding to every aspirant, for it requires to “entrust” another completely with something that you hold dear to your heart…, that’s the big deal and just that makes of PSST a very thrilling and challenging proposal..

PSST is a project in which the outcome is also left up to a certain amount of chance – because the whole process is determined by the successive artist's reactions to the previous work. PSST is also intended to showcase the personal work of designers and artists that generally work in relative anonymity or within a studio system in which credit is applied to a company rather than individual artists.

Well, before the end I lead you to the videos posted this time. The short films added belong to the second production of PSST. This production contains 9 films, every one of them realized by three different teams collaborating at different levels (Exquisite Corpse Technique), so you might expect to see something really special. So that’s it, let’s get the hell out of here.

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To further information about every short film visit: http://www.psstpassiton.com/index.htm

Decompress Still-Life Poem - (Dir.) Jonathan Cannon

Buble Eidetic Syndrome - (Dir.) "Radical Friend" (Julia Grigorian & Kirby McClure)

Fracas Giant America - Honest

Drift Slycicle popped! - Noah Conopask

Sparkle Esperanturum Stimulation - Ted Kotsaftis

Unreciprocated surgery zombie - James Wignall

Loquacious Eyesicle Wild-bites - Hoon Chong

Neill Blomkamp Robotica

Welcome welcome, welcome to this second post, which will be introducing and then, presenting Neill Blomkamp main works. This novel film director was born in September the 17, 1979, in Johannesburg, South Africa. Referring to Blomkamp’s remarkable abilities, we have that he is a professional animator and then a Film director. As a matter of fact, Neill Blomkamp began as a professional animator at the early age of sixteen, using 3D Studio, working for “Deadtime” under Simon Hansen and Sharlto Copley. In addition, he also worked for The Embassy Visual Effects Inc. in Vancouver as well as Rainmaker.

Apart from working in his own projects, Blomkamp has collaborated and worked with different Studios and big companies, for instance, two of his worldwide known works, up until now, are “Evolution” an innovative commercial made for Nike and “Alive with Technology” made for the French franchise Citroen. Furthermore, Blomkamp has worked with many Studios, as 3d animator and designer of visual effects for different films and TV series like Stargate SG-1 (1997), First Wave (1998), Mercy Point (1998), Afterschock: Earthquake in New York (1999), Dark Angel (2000), Smallville (2001) and so on.

Blomkamp’s techniques of filming goes from the use of a naturalistic documentary style to the infusion of original computer-generated imagery effects (Cinéma Vérité technique [1]). Referring to plot, Neill’s ideas revolve around the issue of technology. Within his films, we often observe an over-developed society dealing with the very effects of an over-digitalization of the world. Therefore, in many of his works we can see the irruption of the machines (robots) in daily life and the effects of contacting outer space entities.

As first conclusion, we may say that Neill Blomkamp is Sci/fi film junkie, for most of his works deal with the idea of a near future, predicting a possible over-digitalization of the society and its effects in our human activity. At this point, we might point out that Blomkamp's work is pretty near of being classified as "cyberpunk", because one question fired by himself point the Cyberpunk problematica: where is the “human being” stated, inside of a society full “entities” far more efficient than us?

Being broad minded, it might be sayd that Blomkamp’s films shot in many directions, and might result confusing to understand, for some more than others. Nevertheless, something far more visible to everyone is the dazzling work he performs as 3d animator, when animating and designing machines.

Well, this might sound dissapointing, I mean not adding a reavealing analysis of the author work, but what I pretend here is just exhibit the work and that you judge it for yourselves. So I have nothing further to say but to tell you "watch out" with the work of this merging director; if needed to mention, between Blomkamp’s future projects we have the “possible” directing of an uncertain movie based on the popular Xbox game “Halo”.

Before the end, I give you a big part of Blomkamp's videos which are currently available on the net. The first ones are commercial adds, two of them made for Nike and a third made for Citroen. In addition, the short film called “Alive in Joburg” (2005), Tempbot (2006), and some extras. So, that’s it, let’s get the hell out here (but first go and watch those videos, OK?).

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[1] Cinéma-vérité is a style of filmmaking, combining naturalistic techniques that originated in documentary filmmaking, with stylized cinematic devices of editing and camerawork, staged set-ups, and the use of the camera to provoke subjects. It is also known for taking a provocative stance toward its topics.

Neil Blomkamp Videos

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"Evolution" (Nike Commercial )

Crab (Nike Commercial)

"Alive with Technology" (Citroen Commercial)

"Alive in Joburg" (Short Film 2005)

"Tempbot" (Short Film 2006)

Tetra Vaal (Short Film)

Wyld Stallyons and Mark Walker

Welcome Welcome, this first post will be about two things. First, the Novel Film Director Mark Walker and second, a weird video I found long ago "THE DOLL"

So, Mark Walker, mmm..., what? You never heard of him? Well, I guess is not that famous, at least not yet. Nonetheless, the idea of talking about him is just to change that by introducing and presenting some of his most recent work. So, how did I come to know this buddy? I guess that’s quite strange and funny to explain. The next is not a joke, but somehow I often manage to get to interesting places and finding brand new stuff just for lucky, or let’s say curiosity...you know, when one thing leads to another and so on.

Mark Walker was born in 1976 in Nottinghamshire, England. He studied as a painter and sculptor at the University Of Wales. Nevertheless, and maybe just for curiosity he began experimenting with film, performance and installation art. In 2003 Mark graduated from the Fiction Direction MA course at the National Film and Television School.
His first film (Short Film) was called “Sea Monster” and was screened in competition at numerous festivals. In keeping with this, short film was the nominated in the Best Short Film category at the 2004 BAFTA awards. In addition, “Sea Monster” won Best Director at the International Henri Langlois festival. Any novel film director would like to start his career that way, wouldn’t they?

His next short, “Floating” (part of the FilmFour/UK Film Council talent scheme CINEMA EXTREME[1]), premiered at the Edinburgh International Film Festival and has been broadcast on FilmFour and Channel 4. It was also selected to represent the UK in an international program of short films which toured cinemas across the UK ('Brief Encounters tour' 2005). Mark Walker has also collaborated and worked for many companies directing advertising videos with remarkable reception.

The work I’m presenting here is that video I first found just for lucky or curiosity. The video is called “The Doll” and is a short film made for boutique lingerie label “Lascivious” in 2007, by the Image Company Wyld Stallyons (Rich Stallyon, Chris Stallyon). Now, let’s guess who is working within the team work members of the company? Yes, that’s right, Mark Walker.
The short film is about death, desire, robots and of course lingerie, because I believe the film’s main objective is to promote Lascivious lingerie. According to the work team of Wyld Stallyons the film was inspired by “The Infamous Real Doll sex toys” (something related to old Greek myths; idea projected in the film) and countless evenings watching “straight-to-video sci-fi b-movies of dubious quality”. At this point is important to remark Walker’s influence on the short film, for Mark himself is a fan of Sci/fi films, main genre assignable to the video. Amongst the Film Directors and movies Mark likes we can find David Cronenberg films, such as “Dead Ringers”, Jean-luc Godard’s “Alphaville” and various other Sci/fi, Horror films, which in part might explain the use of blood and violence within the short’s idea of desire and death.

In plain words, the video takes about four minutes, but believe me when I say that those four minutes are enough to take you out of your sit and trigger off a series of ideas within your mind, forcing you to replay the video two or three times. I kinda think that aside of the awesome aesthetical visual work, the music plays also a central role. In fact, it is no other than the music which is capable, along with the image, to reach the dark aura the image pretend by itself. I guess is pointless to point out which one is more important, but since cinema is first image and then sound, I wanted to remark how important is the music-work in this particular case.
I wish I could have found something else of Mark Walker’s work, but since he is just merging into this field, I guess is not that easy to find something. Nevertheless, If were to found something later, be sure I will post something about it.

Before the end, I give you the original video “The Doll”, which is very hard to find these days, for it was removed from youtube and other places, I don’t know the reason why, but its been disappearing from every site I’ve visited. (Thanks God I stole it on time). Besides, I’m adding not only the original vid, but the “making of”, that has been pop in youtube by a “BUENA ONDA” user. So check both. That’s it, now let’s get the hell out of here.

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[1] Cinema Extreme was created in 2002 by the UK Film Council's New Cinema Fund and Film4 to seek out and develop filmmakers with a distinctive directorial voice and cinematic flair. They appointed The Bureau to manage the scheme.

(Read More in: http://www.thebureau.co.uk/schevents/fr_schemes.html)

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THE DOLL





THE MAKING OF