CINEMATOGRAPHER WANTED FOR FEATURE FILM

I am producing a short feature film (14 scenes)in a modern white apartment in the city and would love to collaborate with a cinematographer .It's a relationship drama between 3 adults. Not a huge space so just myself directing with cinematographer.I have a small pro camera/radio mic/few lamps or we can use cinematographers equipment (good if they do sound ).Want to keep things simple but do a good job with the technical stuff (not my strong point). Many strong visuals/ideas in the space and not just actors talking.......(see Christopher Doyle clip attached).
Want to shoot over 5 or 6 sessions , being on a very low budget I am offering all participants $50 per shoot...........plus of course profit participation.
I've always believed in the possibility of great work without all the bells and whistles people think is needed to make a film.
I don't try to cram too much into a shoot so on the set it is playful, collaborative, fun and creative.
 
Any questions or interest please say hi at kimmilesfilms@hotmail.com
Happy to send out script.
Thanks



still frame from SICK TO THE VITALS

4 ACTOR'S OVER 50 WANTED FOR SHORT FEATURE FILM

 

Casting a feature film with 3 juicy roles plus one small role
Sandy......union man,3 years in jail,getting out, angry,bitter.......hidden dementia diagnosis.
Irene.......Sandy's wife emotionally abused by Sandy but has blossomed while he was away.....has a lover
Leon.......loves Irene..........more new age,sensitive,giving.
Clare......friend of Irene.

Several themes being looked at here, including Sandy going from an domineering bully to incapacitated and mute and how the dynamic with Irene changes.
 
Shot in modern , white apartment in city........about 6 shoots.
Crew of myself / cinematographer / make-up
Very low budget...........$50 expenses payment for each shoot.
Moving away from more experimental , tricksy work to simplicity/honesty.
Not a lot of dialogue
Strong, cinematic visuals.

If this is of interest please email kimmilesfilms@hotmail.com
I will send script out to anyone fitting the brief
Thankyou!

 

photographic art

kim miles

FILM CASTING FOR 'CHRISTOPHER WALKEN WAR DOG-(AN ACTOR PREPARES).

Casting one male to play Christopher Walken .
Casting one female to play production assistant.

This film is a fictionalized account of Christopher Walken in an apartment in Africa preparing for his lead role in the film Dogs Of War, he has a black African female production assistant on hand to take care of his needs.
a physical, black comedy, slightly experimental.........filmed in Melbourne!

Christopher Walken

we don't need the actor to be a Christopher Walken double but physical similarities would be preferable. TALLISH.......LEAN.........ANGULAR FACE...........at a younger age his vocal mannerisms are not as pronounced as his older self...........would be looking at a simpler American accent.............it would be an impersonation via looking at his earlier work

female, black, African production assistant....Lulu

this character is assigned to assist the famous American actor with whatever he needs as he prepares on location in a foreign country. Bit of a cultural clash..........she may be shy but strong..........as they develop an unusual friendship


with my return to filmmaking and impatient to start I am producing NO BUDGET work, ORIGINAL/CREATIVE/STANDOUT WORK .
Simple, easy shoots that do not involve a conventional narrative/filming/editing style or conventional dialogue based acting..........freedom for performers to breath/relax/play.

I saw Chris Walken in Dogs of War years ago on a big screen and was struck by his physical presence.........he has a dancing background.
I had idea of him preparing in his African apartment with a black female production assistant to assist him..........I wanted to have them interact in the space.........

It is a black comedy , but not silly............lots of ideas for this.
There is more than one way to make films........... any interested applicants must want to stand out from all the average stuff being made...........and can contact me at kimmilesfilms@hotmail.com with photo/biog/comment!

thankyou...................

The Raveonettes - I Wanna Be Adored

FILM EXPLOSION MELBOURNE

FILM EXPLOSION MELBOURNE is an idea about making films that are big in ideas/risk/passion/art/poetry/excitement/unpredictability/danger.........a thrill about the amazing possibiities of what can be achieved with a camera...........an attitude of just doing it with whatever is at hand.
It is a reaction against formulaic/conventional/low risk/boring filmmaking that continues to be made and does nothing/says nothing/ and is meaningless /pointless and does nothing to further the art of filmmaking in this country.
It goes against directors with no vision/style.............writers who just write shallow blah............producers who don't look for the bizarre(and support it) and actors who's commitment to the art/craft of performance is small and shallow and who have no inclination to take a risk and put their guts on the line.

https://youtu.be/HF91QxJVDU8

Its about frustration with a BORING film culture. (maybe its a boring time/society!)

Doyle: I liked the disparity. For example, when you are with the grader — or what they call the colorist now, I hate that term — the person is there looking at the footage and says, “Well what you see now, once it goes through the printing process it will be a little more green.” I love that, the random factors. This sense of anticipation, what you put in, has a certain authenticity, but what is going to come out has a look of its own. I think this is the big challenge now. I work so often with younger people, and they treat the film likes it’s a commercial. I don’t want to see a Big Mac in the middle of my screen. It’s weird. They are so obsessed with perfection. One: perfection doesn’t exist. Two: the imperfections of an image are what give it energy. Like, look at your beard — you should have shaved a little bit over here. It’s the same thing. You’re working with your beard everyday, and occasionally you say, “Oh shit I have to trim it.” Life has to be like that, and a film has to be like that, and the real danger at the moment is that we can do anything, but when there is nothing to say, there is still nothing. If it doesn’t add anything, why would you do it? This is an interesting space that we are in. People say, “Oh, there is a cable in the edge of the frame,” and I respond, “Well, aren’t you watching the actors?” There is no need to stamp out imperfection.