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Planning the shooting schedule at Counter Culture

Months of ideas, discussions, writing, and planning, building sets, setting up lights, now we’re actually shooting our film.

Going for a take of Scene 3

Immediately it becomes real, we see what we’ve done immediately, the scenes we just shot, right in front of our faces. I’m struck with how much this process feels like painting, or sculpting, or building. It’s immediate and therefore familiar. We’re hauling lights around, climbing around the set, moving tables, lights, art, sculpture. Finding a place for the art in the film.

Koskinas and friends

I’d forgotten old friends, my paintings, now they’re became part of the terrain, becoming references, characters. I see them with fresh eyes, beginners mind, they’re talking to me differently. I gravitate to certain ones. My hands want to touch my plaster heads. I remember building them, the feel of the plaster, wet, the quick setting up time, working quickly. A particular large one becomes a central figure in the next scene. Why not, we’re old friends. My sculpture teacher told me once, real art informs the artist along the way, revealing, teaching, leading the artist into a greater understanding of himself. It has to be, or it looks like, smells like art… but isn’t.

Koskinas and Witham designing the set dressing

To the greater end John says we are really having confidence in our creativity. I’m trusting John to be the art director on certain sets, he’s found way to link my paintings to these first scenes. If you look at the pieces they’re there for a reason. Like guests we might move them around, some in-laws get along better than others.

Making notes

The set is moving around too, certain pieces, say my easel, desires to move to another part of the floor. The point is, and it may seem like a cliche, the best way to make a painting is to get yourself out of the way and let it paint itself. In that sense I had the distinct feeling that our little film is taking on a life of its own. Don’t overwork myself on my days off, John says. Save something.

The creative process is a mystery, that’s really the fun of it. Trusting, balancing the fear of whether what you need will be there when you need it. We’ll go with that.