As of today, we're 99% of the way to picture lock. Jamie Clay, our
visual effects supervisor, is working on the final 3D cgi shots and then
all that remains to create visually will be the credit, title and super
Daly, my co-director and music supervisor, is working with Michael Hoppé
on creating the moody and evocative musical score that will accompany
the film. And we go into the studio on Friday to record Peter Coyote
delivering the narration. (We've been using scratch music and scratch
narration in the edit up until this point.)
One thing that I
want to comment on is how important collaboration is for a project like
this. Here's a great discussion about that from the Stillmotion blog recently:
We all want to be creative.
We all want our work to be different, to get noticed, and to be appreciated. We want people to look at something we’ve done and genuinely tell us that they love it.
Above all else — we want it to be ours.
In the beginning we’ll imitate others — for a filmmaker that would mean drawing inspiration from someone we admire or even just a random video we saw and liked. For a musician, it’s learning how to play the all-to-familiar opening riff of Nirvana’s “Come As You Are”…
But once an artist begins to improve and find a niche, it’s time to take ownership and make original work. Originality is obviously great, but as a filmmaker (and often a musician) you’d be a fool to think you’re better off on your own than in a collaborative environment.
So what happens when we let go of that sense of ownership? When we step into a new space with other opinions and ideas, ones that challenge our own or add a new layer that we never knew existed?…
Well, a lot of things can happen. It can be awkward, it can be fun, it can be a terrible idea altogether…
…or it can be really special.
I've always known this and have used these principles in my work at the Yost Group for decades. But my photography and filmmaking has typically been a one-man affair. That said, by the time I started editing The Invisible Peak in July, it became obvious to me that I couldn't do this alone. I had brought Jamie Clay in to do the 3D visual effects to reconstruct the original mountain and air force station. And I brought George Daly onto the project as music supervisor. Plus, I'd been working with Peter Coyote since early February on structuring the arc of the film and the underlying story and feel.
But when it came
time to actually start editing and writing the script, I was just too
close to the material. I needed a partner to bounce ideas off of and
create the kind of fiery collaborative field necessary to make something
truly universal. In early August I started to work with George on
conceptualizing the best, most evocative music for
the film. What I didn't expect is how well we would work together as a
team and how great his overall suggestions would be. We
worked so well and fast that I invited him to join me in co-directing
the film. His
instincts for helping me present my imagery of the
mountain, along with his own story-telling and editing slant, dovetailed
perfectly into my work and thought process. It's been a blessing to
have him accompany me as well as inspire me, to join me on my journey to
finish this film.