What do we mean by this I hear you say?

Well, if we look at some super sweet films like American Beauty and Schindler's List we can see how colour was used to convey a message.

Check out scenes in American Beauty where red was used to create a certain mood or message. There is deliberate emphasis on others colours throughout the film such as blue and white which correlatewith the colours in the American flag.

Or an easy one is Schindler's List where they have created a film with a very limited colour palette and with a very deliberate focus on the colour red. 

Then there is also film styles like that of Tim Burton who, at times has worked within a narrow colour palette.

Playing with colour can happen through the art direction of your film or in post production. Playing with colour levels can alter the mood of your film dramatically!

Good Luck!

And remember the challenges are just optional. You can always make a film of your own choosing, if this challenge is not for you!

Films must be ready for screening on Monday 25th June at Kino #58! See you soon!

Art Director

Editor

2 Male Actors

1 Female Actor

1 Child Actor

1 Small Dog

Film will be shown at The Vanishing Point Art Gallery after premiering at Kino in August.

Theme: Aftermath of sexual abuse.

Film Synopsis:The film would represent the psychological impact of this trauma on an individual. We intend to be as subtle as possible into the artistic expression in the film – as in ideally I would like the viewer to think about what he/she saw and define what it means for him/her rather than us pasting to obviously the topic in the film itself.

The film would also express a more general feeling of entrapment/enslavement from ‘the screens’; all forms of information (often very sexualised) we are bombarded with from an early age.

Script can be dowloaded here!

Contact Andre if you are keen to take part in the creation of this Kino project!

Kino groups or cells are rapidly multiplying around the world!

Founded in Montreal the network has since spread thoughout Canada, America, Europe, Australia and Africa!

Most cells hold monthly screenings and yearly Kino Kabaret events, just like Sydney.

Kino is a super inclusive network that welcomes people from International cells with open arms!

Feel like going on a holiday and want to hang out with some like minded filmmakers? Why not suss out the international Kino cells and see whether a Kino screening or Kino Kabaret is coming up!

Interstate Kino cells can sometimes assist you with the cost of your flight if you are looking to come over for their annual Kabaret event! They can also help hook up accomodation with one of their Kino members!

Kino can currently be found in the below locations. 

Head to their websites to suss out what they are up to!

Kino Vienna

Kino Brussells

Kino London

Kino Montreal

Kino Quebec

Kino Wisconsin

Kino Maurice

PLUS MORE!

FILMMAKING CHALLENGE 2012

Saturday 17^th – Sunday 2^nd December

Kino Kabaret is back! And in our 5^th year we have organized the biggest Kino Kabaret yet!

Kino Kabaret is a filmmaking marathon that gives participants all the equipment and facilities they need to test their filmmaking skills. The marathon enables people to develop their skillset and team up with like-minded, enthusiastic individuals!

Kino Kabaret happens all over the world, with the first marathon happening in Montreal many years ago! Sydney hold the only Kino Kabaret in Australia at present so let’s make it a good one!

We throw participants in a room of actors, filmmakers and script writers, eliminate all the annoying pre-production parts of filmmaking and support you as you create premiere short films!

Participants work away frantically over a 32 hours period to create as many films as they can within the time limit.

Everyone walks away from this festival with one or more films to add to their show reel, to kick start their acting career, to hand out to agencies, to enter into festivals or to launch their Vimeo Channel.

Kabaret is fantastic for those people new to the world of film who have always wanted to pick up a camera but never had the guts to do so. It is also brilliant for the more established filmmaker and actors who are looking to broaden their contact network and have a really amazing weekend shooting and watching cinema.

WHO CAN ATTEND?

The filmmaking marathon is open to anyone! You don’t need to have any prior experience or film knowledge.

On the first day, we will hold a pre-production meeting where teams will be created and everyone will have the opportunity to pitch an idea.

You are welcome to sign up for one or all of three sessions. Each session is on a weekend with the pre-production meeting at 10am on the Saturday and the screening at 6:30 on the Sunday.

DO I NEED TO ARRANGE A TEAM BEFORE THE MARATHON?

You can come with a team but most people find they get more out of it if they come without a pre-prepared team.

It doesn’t mean you can’t sign up with friends, family or your boss but people generally enjoy taking part in the pitching and pre-production part which involves teaming up with new people and making new connections.

I HAVE MADE A NUMBER OF FILMS BEFORE, IS THIS FOR ME?

A lot of more professional filmmakers come along to Kabaret to test their skills, create a new network of film contacts and spend a weekend remembering why they fell in love with the craft.

If you are ready to meet a new bunch of film enthusiasts and test your improvisation skills, then you will definitely love this event!

Most of the pre-production has already been done for you which means more time for the good stuff! A selection of locations have been mapped out, there is an array of acting talent for you to choose from, all your technical needs have been met and your time table has been cleared. Now you just have to get creative!

Films that have been made through Kino Kabaret have gone onto tour the festival circuit or have been made into features. You still retain all the rights to your films and are welcome to do with them as you would like.

HOW MUCH?

The best thing about Kino Kabaret is that for only $50 you get everything you need to make one or more films. The trick is that you only have 32hrs to make them!

Your $50 also includes access to the screening party. Every film will be screened in front of a live audience on the Sunday evening of your session. We prepare a killer screening party to celebrate your achievement! Screening parties are fully stocked with booze, food and live entertainment!

APPLICATION PROCESS

The application form must be submitted a week prior to the festival kick off date.

Application forms will be accepted via email, post or in person.

All applications in after the main round application cut off will incur a late fee.

EARLY BIRD APPLICATIONS - $45 – Must be received by July 31^st 2012

MAIN ROUND APPLICATIONS - $50 – Must be received by November 10^th 2012

Any applications received after this date will be charged at $60

Application fee includes:

• Participation in selected filmmaking session
• Access to all cameras and shooting equipment courtesy of Metro Screen
• Green Screen access
• Access to editing facilities at Kino Kabaret Lab
• Metro Screen technical tutors
• Meet & Greet evening
• Actors and filmakers
• Access to copyright free music from Sydney artists
• Free entry into the screening party within your session
• Pizza, entertainment and 2 x free drinks at your screening session

Please note: There is only 30 spots available for each session. When the session is full you can go on a waiting list but there is no guarantee there will be space.

Open to any Short Film, Documentary, Animation and Music Video under 10 mins in duration.

Visit our website for more information: www.luckyfilmfestival.wordpress.com/

Age: 25

Occupation: Between assignments

Favourite Filmmaker:  Terry Gilliam

Your Filmmaker trick of the trade: Wacom Tablet and a copy of Flash.

How did you first get into filmmaking? 

I was taking visual arts and drama at high school, and just to be different and difficult I started making films for my assignments and came to the conclusion that it could work as a career too. That and it's a lot of fun.

Have you had any professional training? 

Yes and no, I took a Bachelor of Electronic arts in the hope that it would teach me film practices. In the end I learnt a lot of really useful things but not what I was hoping for. Most of my practical skills I've learnt either on my own or on various jobs in the industry.

When did you first start attending Kino? How did you hear about it? 

I started attending exactly one year ago. I had heard the name being passed around by my fiance and a few friends but it wasn't until I saw a couple of films up at Jurassic Lounge that I saw how much fun it looked.

What do you particular like about making animations? 

I like its possibilities. With film there are a few restrictions with what you can make your actors/subject matter do or be about. But with animation, its universal laws are governed only by the limitations of your imagination.

Another reason I like animation is that when I was growing up in the 90s and 2000s, there was this surge of creator driven work. I saw things like Liquid Television and South Park when I was 9 and 12 respectively. And then came the flash animations of the 2000s. Suddenly animation could be made by anyone and any story could be told. It just felt really exciting.

Do you ever make non-animated films? 

I haven't yet. I'd quite like to work on some live action-comedy shorts and have a go at comedy performance. I admire performers like John Cleese, Graeme Garden and Ryan Stiles who are able to use their bodies and voices to great comic effect. And I think having a go at performing would help strengthen my understanding of performance which will enable me to apply that to my films.

If you had a choice of collaborating on a project or working on it alone, what would you choose and why?

While I've done a majority of my projects on my own, I'd prefer to work in a group. I get lonely, and I really like working with others and just having a great time making something. I can also get very unsure about my own ideas. After staring at them for so long I ask myself 'is this funny? Does this work?' That's when it's useful to have someone that can look at it and laugh their ass off. That's a nice reassuring feeling.

Anything in the pipeline at the moment? 

I've got a few ideas bubbling away at the moment. I'm planning a stop motion piece, animating Lego. Another is a live action piece with some CG elements that I wanted to practice on. Should be fun........oh yeah and a wedding!

Advice for budding animators? 

Start early! And don't be afraid to play and show your results. Talk to people whose work you like. Just get out there and do it. Oh, and sitting down and looking at a few tutorials wouldn't hurt either.

Have all your films been fueled by at least one redbull? 

Unfortunately yes. It's a terrible habit. But that's largely due to my terrible time management skills that I start a project quite late and just guzzle that stuff down to feel pumped. Like I said, for the love of god start early.

THE CAR SKETCH

Made for Kino #46 (in 2 days fueled on redbull)

Every couple of weeks we will be taking 10 with a Kino Sydney filmmaker! We will be sussing out their tricks of the trade and scoping out where they get their inspiration from.

For our first edition we will be speaking with 2 very talented filmmakers who have co-produced some very thought provoking films.

Feel free to post any comments or questions and we will get the guys to hit you up with answers!

Read on!

Brian Fairbairn
24
Broadcast Operations
Favourite Filmmaker: David Lynch
Your Filmmaker tricks of the trade: Fake the spatial relationships if it makes for a more interesting shot. I'm always amazed by what you can get away with.

Karl Eccleston
26
Communications officer in the public service
Favourite Filmmaker: Wong Kar-wai.
Your Filmmaker tricks of the trade: Moving props and actors around so that all your shots look full and interesting is really important. It doesn’t matter if a lamp or a piece of furniture isn’t exactly where it was in another shot, so long as each shot looks good.

When did you begin filmmaking?:

B: I used to play around with my dad's camcorders back in my preteen years - I'd make dumb sketch shows with my brother and spend hours making stop motion animations with Star Wars figurines. I was also an avid user of 3D Movie Maker, so a lot of my early attempts at film exist only on floppy disc.

K: I began making films with Brian last year. I hadn’t made any films before that. Actually before all of this I thought of myself as more of a writer.

What drew you to this art form?:

B: Nothing that I can think of - I've just always been a film lover.

K: I’ve always been interested in film, but literature was my first passion. I’ve always been a visual person though and so I suppose film has been a natural progression because it encompasses both the image and the word. In any case, I don’t think you have to restrict yourself to one artform. 

Have you had any professional training?:

B: None. I studied English Literature at university, but was involved in the drama society and directed a show in my second year. I also directed a musical for the Edinburgh Fringe Festival in 2010, and I've found there's been a lot of natural crossover between directing for film and theatre. When it comes to the more technical side of filmmaking I've basically been making it up as I go along - I still have a lot to learn.

K: No. I have an English degree, which is pretty useless when it comes to some of the finer aspects of film making. Brian is definitely better at the technical side of things, and I’m learning a lot from him. I do think we both have strong instincts for film though. Despite the fact that neither of us have any formal training, things seemed to have worked out pretty well so far.  

You seem to have a running theme of interesting use of linguistics throughout your films, is there a particular reason for this?:

B: Not really - the linguistic aspect of both films arrived from totally different places. Skwerl evolved from a conversation we had about what English would sound like to a foreigner. We found some great videos on YouTube about it, but we were surprised that nobody had yet tried to apply the idea to a narrative film. With Serenade we initially wanted to explore the relationship between a film and its subtitles, but it eventually evolved into a straight German film. We loved the ambiguity and detachment that came from casting a non-German speaker in an entirely German role.

K: It’s strange that it’s worked out this way, but this tendency definitely hasn’t been deliberate. A few years ago I lived in Paris and Brian grew up in the Middle East and Switzerland, so I think we’re both aware of the potential of language as a tool. Being conversant with a number of languages is great because it just means that English isn’t a constraint.  I think ultimately we just consider what each film needs. If it happens to be German or gibberish, so be it.

What is it like co-directing projects? Do you run into any obstacles?:

B: Most of the collaboration comes in pre-production. We develop the ideas together and decide the narrative, the look, and the rough shots. Karl then takes it away and writes it as a screenplay, and on set I call the shots. There's always a lot of overlap, but we loosely keep to our separate roles. We butt heads a lot, but we can always be brutally honest with each other and have very similar taste.

K: We don’t really co-direct. We both come up with the ideas for the films together and discuss everything from the camera angles to the production design. Essentially though I do the writing and Brian directs. We both have really strong ideas about how the films should be which means we often clash. Some times our roles are very clearly defined, other times not. Ultimately though I think it is a very symbiotic relationship.  

Let's talk about Skwerl! Can you tell us about the journey of this film after you screened it at Kino?:

B + K: Skwerl was a complete surprise. It was our first real short film and when we put in on the net we thought only a few people would watch it. The film went viral and at one stage we were getting100,000 hits a day. After this initial burst of viral activity died down, someone in Taiwan uploaded the film to his YouTube account. This upload went viral too, and hit 1.3 million views in about a month. Both uploads have now died down, but we're sitting on about 2 million views altogether and have been featured in the Huffington Post, NYMag, Vulture, and a bunch of independent blogs and websites like Buzzfeed and Reddit. We’ve even had linguistics tutors ask to use our film as a learning tool in their classes. We had a new score composed for the film too, and it's been screened at film festivals in Switzerland and the UK.

How long have you been attending Kino? What do you get out of it?:

B: My first Kino was in March 2011. I loved how diverse the films were both in quality and content, and found the lack of prescreening process to be totally liberating - the idea of making something to be publicly shown seemed much less daunting. It was actually walking home from that Kino that we decided to make Skwerl - but the first film we actually put together for Kino was Le Hibou which we showed later that month.

K: I’ve been coming to Kino on and off for a while. I like the creativity and the range of films. It makes you come away from it thinking, ‘I can do that.’

Any exciting projects in the pipeline?:

B: We just finished a music video for singer-songwriter (and Kino-regular!) Rosie Catalano which will be launched on May 24th, and we are also gearing up to shoot two music videos for the insanely talented Sydney singer-songwriter Miss Little, which will be out in June and September.

If you could have any job in the world what would it be?:

B: I'm keen to be able to earn a living from filmmaking.

K: Novelist. Or maybe film maker.

Advice for anyone keen to pick up a camera but a bit tentative?:

B: There's a lot to be said for making it up as you go along. The internet is full of awesome resources to help, and the DSLR revolution means you can make decent quality films for next to nothing.

K: Collaborate. If you’re just starting out you’re not necessarily going to have all the skills you require to make a film. Brian and I fill in each other’s gaps. Kino’s probably a great place to find people you can start making films with.

Brian, Karl and cast and crew of film SERENADE made for Kino #56!