Creative development to production
While editing my films for Permutations, I was already eager to explore new ideas. Even though it felt strange not to be rehearsing at Mill St, due to the closure after the 2022 floods, it was good to be back in the studio (a charming little hall in Paddington), experimenting with new concepts.
After spending time in the studio, I found a few locations to hire and tested various scenes in each. The goal was to translate the content to each location and eventually return to refine these ideas further down the track.
After experimenting with the footage in the edit, I was eager to focus on a single location in particular and draw inspiration from the space’s history and aesthetic. In dance film, this is not an unusual way to work, and for me, films like Pulse, Vault, and Void began by drawing from the aesthetic or history of the location. An alternative approach is to start with an idea or story and identify locations that align with the narrative. My films, Ward of State and Love Song, are examples of working from a story starting point. Dance films might also begin with a movement idea, such as my films Splat or Silt, or they may be conceptual or experimental, such as my film Shift.
In June, we spent a few more days rehearsing at some of the locations. However, some locations didn’t feel like they belonged with the movement, as seen in the images above, but we persevered nonetheless. However, one location that did feel suitable was the old Telephone exchange at Wooloongabba. I decided to scrap the other ideas and focus entirely on the exchange building. The following month, we filmed for two days at the telephone exchange location, followed by an additional three days in August. Spreading out the filming process is not the traditional way with film. Still, the time to reflect in between filming is an integral part of my process, particularly given how editing can alter the outcome.
Alongside rehearsals and filming, I also researched the history of the location— the former telephone exchange — and I began to weave in some ideas about revisiting and examining all the old, clunky telephones and exchange desks. The Brisbane Telephone Museum in Brisbane also provided some valuable information about the past and the technical aspects of telecommunication. In fact, visiting this museum, I realised that filming some scenes here might provide more narrative content to the other scenes at the old exchange building.
We filmed the second part of the development in July 2022 (above) and an additional 3 days in August 2022 (below).
The creative team included:
Dancer: Erin O’Rourke,
Cinematographer: Saroj Kumar Chauhan,
AC and gaffer: Jared Sexton,
Sound recording: Hannah Millar
Sound Mix: Rosco Audio (post production)
Below are some stills from the camera.
