Tag Archives: director

COASTLANDERS 8 to 8 is on IZ TV in November 2011

IZ TV is Turkey’s first documentary channel. During its maiden season in 2006, IZ TV has received Hotbird’s Honorable Mention and in 2007, IZ TV has been honored as Europe’s best documentary channel.

from the movie COASTLANDERS 8 to 8 (Aykut Ünker Archieve)

8’den 8’e SAHILDEKILER ( COASTLANDERS 8 to 8 ) will be broadcast on IZ TV’s “Indie  Films” on November 7, 2011 at 05:55 a.m.

Check out its web site for my short film and watch the trailer they prepared.

* Many thanks again to my small crew and all friends who support me and my short film.

Metruk (The Abandoned): A short experimental documentary by Orkide Ünsür

Watch the trailer

Metruk ( The Abandoned )

Genre: Short Experimental Documentary, Duration: 12′ 07”

Producer & Director: Orkide Ünsür, Camera & Editing: Umut Can Sevindik

LOGLINE: Condemned houses are like abandoned lovers.

SYNOPSIS: Condemned houses are like abandoned lovers that once shared good and bad moments. Now, because of abandonment and rejection they are left alone for selfdistruction. They are disappointed, upset and same proud. They’ll try to survive by resisting the passing of time. Yet if the lover comes back again one day, there is no possibility for living again together in the same house as it is. The house is now disconnected, worn by the weather and the aging of its stillness. The home has no more to offer as it once did.

Filmmaker Orkide Ünsür is observing the condemned houses in her neighbourhood…

(Special thanks to Alternatiffilm…)

About Closing Ceremony and Awards of the Festival…

The closing ceremony of the 8th International Environmental Short Films Festival which was organized by Büyükçekmece Municipality and Etkin Film Prodüksiyon was taken place at  Atatürk Cultural Center in Büyükçekmece on Friday 11, 2010. After the cocktail, awards ceremony has begun. Firstly Festival Director Mr. Vural Çavuşoğlu  and Büyükçekmece Major Mr. Hasan Akgün have made their speeches and the winners took  their prizes.

“8’den 8’e SAHİLDEKİLER / COASTLANDERS 8  to 8″ which is the first documentary about  Maltepe Coastline and Süreyya Beach has won the 3rd Best Documentary Award in the competition which is only organized in national category. During the festival some foreign short films have screened from different countries such as Spain, France, Germany, England Italy and Holland.

Here are the awarded films and directors that were selected by the jury members who are Cahit Berkay (Musician), Ediz Hun (Actor), Assist. Dr. Gülin Terek Ünal (Universtiy of Istanbul Faculty of Communication), Üstün Asutay (Actor), Vural Çavuşoğlu (Director):

Category of Documentary

1st Prize:  MADA (Director: Musa Ak)

2nd Prize: HALKİ HALKI (Director: Atacan Şimşek-Bulut Tar)

3rd Prize: 8’den 8’e SAHİLDEKİLER / COASTLANDERS 8 to 8 (Director: Orkide Ünsür)

Category of Live Action

1st Prize:  ARTI BEŞ DERECE (Director: Şenol Çöm)

2nd Prize: SU TANESİ (Director: Oğuzhan Kaya)

3rd Prize: BEŞ LİRA (Director: Serhat Karaaslan)

Category of Animation

Best Film: BİR VÜCUT İKİ İNSAN (Director: Murat Tahan)

Murat Şener Special Prize:

Students of Istanbul College with their works called PEGU

Prof. Dr. Suat Gezgin, Dean of the Faculty of Communication in Istanbul University and musician İskender Doğan were  awarded with special prize at the ceremony which was hosted by actor Ercan Bostancıoğlu. The night has ended by the songs of the musician Muzaffer Uludağ and also a wonderful tango performance by dancers.



* Special thanks to Ms. Çiğdem Larsen for my video and special thanks to Ms. Gül Toksoy for my picture …


“COASTLANDERS 8 to 8 ” is selected for the “Kent Meydanı AVM 4th Short Film Days”

Kent Meydanı AVM 4th  Short Film Days” which is collaborated by BUFSAD, InSanat Association and Kent Meydanı AVM will be held on 7-9 May 2010 in Bursa. During the festival, “8’den 8’e SAHİLDEKİLER / COASTLANDERS 8 to 8” will be screened on Saturday 8 th May 2010.

Here is the schedule:

Friday 7th May
19:00 

OPENING CEREMONY (Exhibition of Osman Kaynar's Film Projection Machines)

19:15 

16 mm film about the 23 th April Ceremony in Bursa on 23rd April 1954

19:30 

FILM GALA CEREMONY(Kosmos by Reha Erdem)

20:30 

CONVERSATION WITH ACTORS OF KOSMOS MOVIE

21:00 

Kosmos Film (GALA)

Saturday 8th May


14:30

Boubacar (18') Emir Şahoğlu

Karakter (17') İdris Akın

Forget Me Not/Beni Unutma (15'12") Pelin Aytemiz

Ak-ı Memur (13'42") Cem Mestan

Sek Sek (2'38") Sinem Tüfekçi

8'den 8'e SAHİLDEKİLER/COASTLANDERS 8 to 8 (13'53") Orkide Ünsür 

Pamuk İpliği (9') Levent Demirci

Uç (14' 36") Baran İçöz

17:00

CONVERSATION WITH "ZEKİ DEMİRKUBUZ" ABOUT INDEPENDENT CINEMA 

18:00

The Fire Work (14'38") Volkan Gürses

Araf (06'05") Serhat Karaaslan

Bisiklet (17'21") Serhat Karaaslan

Gece (8'56") T.Yılmaz-M.Eldem

Bir Doz Hayat (04'21") Selçuk Ataman

Cennete Davet (06'03") İrfan Yıldız

38'C(10'40") Ömer Sinir 

Jaluzik (12'40") Ezgi Akan

Hadi yesene (12'20") Özlem Korçak

Tereke (08'30) V.Budak-A.E.Kumtepe

Sunday 9th May

14:30 SELECTON OF ANKARA FILM FESTIVAL

Humanty/İnsanlık (04'28") Eray Mert

Giderken (9') Anıl Kaya

Geri  Dönüşüm Günlüğü (4') Efe Conker

Şah Mat (07'45") Sıla Ünlü

Şubat (10'05") Nazım Güvelioğlu

Yaşlı Adam ve Karakuş (4') H.Mert Erverdi

Gemain Schaft (03'48") Özlem Akın

Hayat Derin Uzay (04'21") Mertcan Mertbilek

Açık Rüya (5') Gökhan Atakan

Anoptikon (5'28") B.Doğan-Ö.Dilek-M.Ş.Arslan

Seken Palazlar (10'18") B.Onrat-Ö.Sarıyıldız

Bengi Dönüş (03'35") Özgür Özcan

Metroist (4') Övünç Güvenışık

17:00

SELECTION OF IFSAK

Meret (13'17") H.Ömer Zorka

Yazlık (20'23") Eray Mert

Yolda (06'23") Alper Öztekin

Güven Bana (09'34") N.Elif Duru

İnSanat CINEMA ASSOCIATION / SELECTION OF 16mm CINEMA ATELIER:

Kin (10') Atölye 16mm

Yar (12') Atölye 16mm

2Lem (10') Atölye 16mm

Oyuncak (10') Atölye 16mm

DarAçı (16') Atölye 16mm

Zilkade (14')Atölye 16mm

20:00 

CLOSING CEREMONY

Masterclass: Anders Refn

Anders Refn is best known with his collaboration with Lars von Trier as editor. He is coming from an artistic family and also the father of the director Nicholas Winding Refn. He began his cinema career as  a prop assistant and an assistant director. Then he attended the National School of Denmark in 1967-1969. He made feature films and variable TV dramas as director; he worked in more than 40 films as editor. During the International Istanbul Film Festival, he has come to Turkey and has given a masterclass called “Breaking the rules. The importance of challenging the visual language of contemporary cinema. Illustrated by examples from my own works and my works with Lars von Trier.” During the class he showed us some scenes from the movies which he collaborated with Trier such as “Breaking the Waves”, “Dancer in the Dark” and “Antichrist”.

Birth of Dogma

The National Danish Film School became pioneer not only in our country also in the world when it established in 1966. For instance in Sweden, in spite of his genius, Ingmar Bergman had become very dominant personality which was blocking the young directors who attempted to get into film business. In our time, directors were working together united and our first priority was making a good Dan movie. We truly believed that it would open the doors for our second movie.  For example, Bill August is one of the best and world wide known directors in our generation.

Yet one of the worst side of us was we might cause to death of emotions and spontaneous approach because of our perfectionism. For instance when we examine Trier’s Europe Trilogy (“The Element of Crime”, “Epidemic” and “Europa”) we see these films keep distance to the audiences although they are very beautiful and esthetic as cinematographically. So we decided to reconstruct the language of cinema in order to destroy that distance. In 1995, Lars von Trier and Thomas Vinterberg presented their manifesto which they called Dogme 95. It was a new cinematic movement which was breaking many rules and my collaboration with Lars von Trier was an exiting initiative.

The Shooting and Editing Technique of “Breaking the Waves”

While we were shooting Breaking the Waves”, we used hand held cameras for giving the effect as the scenes have been shot in the family with amateur camera and we ignored the cinematographic approach. Naturally, some of the audiences didn’t like it at all, they were complaining about spinning heads and turning stomachs while they were watching the movie. The story of the movie was very touchy and melodramatic. If we made the movie with classical shooting and editing methods we did thought it might be very banal. When you watch the movie you realize the whole classical cinema rules collapse just in the first scene. We did all the mistakes which could be done. For instance there was a scratch on the negative film. We just settled it in the first scene. We were paying attention  to soft focus plans, I mean we didn’t want every pictures clear and focused. But our director of photography disturbed very much about it. Although camera assistant has been told for making soft focus, our director of photography was correcting the soft focus immediately and making the picture focused. At the end Lars had to write “MAKE MISTAKE” on the monitor.

We were shooting the whole scene non stop with many hand held cameras with different angles at the same time.  Thus our actors’ concentration didn’t ruin. Furthermore, we changed the sub text of every scene, we shot the same scene with different versions. Such as firstly drama then comedy versions. We made collages with them. Thereby you could see the actress while she smiles in one angle and she has different facial expression in other angle. Normally ruining the “Angle-Reverse Angle”, “Left-Right” rules are considered as sin. In the movie, our leading actress Emily Watson looks right and left in mixed way and this give the idea to audiences like they loose their orientations. She has these options freely. When she looks directly to the camera it means the wall between you and the curtain ruins.

We used general lightening for every scene and arranged the set that we would able to shoot in 360 degree angle.

While we were in editing procedure we made different kind of trials, we spoiled the edited scene. James Joyce says “Mistakes are the portals of discovery”. During the times when we thought we made a mistake, we reedited the scene etc. These things were almost impossible in the old times when we used analog technology.  It was very hard to go back when you did a mistake even the director might kill himself rather than reedit it. Joking aside, we owe the digital technology a lot due to it makes us more free..

The most important scene of the movie is the scene of “Bess’ Death” which is very emotional and sad. We deliberately kept short the scene that she was taken from boat and brought to E.R but the Surgery part was on purposely long. Actually the situations are surreal here. Her husband is lying on the next room; her mother is being allowed to get in to the Surgery etc. But these are not ruining the rhythm of the scene. In my opinion, although it is very melodramatic scene, we are successful for keeping the balance which is very important. We tried to keep the scene longer when it is getting emotional rather than cutting it but we were careful about avoiding banality. We decided to cut a scene when its rhythm is going down. I mean when a scene gets peak we cut it immediately like we chop it off.

Few Words About “Dancer in the Dark” and “Antichrist”…

The musical “Dancer in the Dark” had negative comments by some musical lovers and movie critics due to its lack of classical Hollywood musical and also it ruins the rules. But some people loved the movie a lot. By the time Selma gets in her dreams we shot the scene with 100 still cameras. This was really madness. The movie set was like a Swedish cheese with its many holes. The other problem was avoiding the whole cameras not seeing each other and we couldn’t use some camera’s pictures. Actually the reason that we used such amount of cameras was Björk is a musician and singer instead of an actress. Lars wanted to catch her best face expression. I worked as co director and editor in this movie. The music is edited by a French editor. Björk was responsible of the music of the movie, Lars was responsible from the whole movie and the hell begun at that moment. Because Lars was cutting the plans with his way which Björk didn’t like it at all. During this time I realized Lars didn’t know anything about music and Björk won the war!

My personal preference is not to involve in production procedure. But I had to work in production of “Antichrist” due to Lars’ sickness. He was depressed and wanted me on the set. We used a phantom camera which is able to shoot 1000 frame in a second. We thought using the phantom camera was the best way for giving the right emotion of the first scene and indeed it worked. We shot the movie together with Lars and I edited it. When it comes to music, Lars never uses it for make the audiences cry. On the contrary he wants you to cry without music and he did it on his all movies.


Meeting with Maltepe Deputy Mayor, Mr. Mehmet Bingöl

The Maltepe Documentary (From Bryas to Maltepe) and other promotional film projects, were presented to Deputy Mayor, Mr. Mehmet Bingöl.

After the 11th Dhaka International Film Festival…

COASTLANDERS 8 to 8 was one of the finalists at the 11 th Dhaka International Film Festival ( DIFF)  in the category fo women filmmakers.

News from the daily newspaper  NEWAGE written by Ariful Islam Mithu

Symphony of colours at Rang show
Rifat Munim
 

The on-going ‘Exposition 2010’at the Bangladesh National Museum is offering a variety of exhibitions of varieties ranging from installations, paintings and photographs to foods, seeds and spices.
The 11-day exhibition organised by fashion house Rang to celebrate its 15th founding anniversary is open from Saturday to Wednesday between 9:30am to 4:30pm, and from 3:30pm to 7:30pm on Friday till January 25.
The paintings include the works by Quamrul Hasan, Mohammad Kibria, Murtaja Baseer, Rashid Chowdhury, Qayyum Chowdhury, Hashem Khan, Rafiqun Nabi and Samarjit Ray Chowdhury. Most of the paintings are figurative and in bright colours.
Quamrul Hasan and Hashem Khan’s paintings show rural women while Mohammad Kibria’s works present abstract objects and Qayyum Chowdhury paintings feature women and nature.
The photographs displayed are of colourful flowers, fruits and vegetables. They also show various sale objects including cheap clothes and accessories featured in roadside shops.
A different section titled ‘Colour of Folk Art’ was dedicated to the showcasing of handicrafts including hand fans, quilts and potteries skilfully designed in various colours.
The installations include ‘Colour of Identity’, ‘Dark with Colourful Song’, ‘Colour of Soft Feathers’, ‘Colour of natural dye’, ‘Colour of Texture and Reflection’, ‘Colour of Threads’, ‘Colour of Ocean elements’ and ‘Colour of Natural Ingredients’.
Rang’s director Biplob Saha said, ‘We have selected small objects of life along with bright flowers and trees to show how nature surrounds us with a celebration of colours.’
Another director of Rang’s, Soumik Das said, ‘The exhibition is dedicated to the dye-workers who make our lives colourful by dying the threads.’
Food and disaster management minister Mohammad Abdur Razzaque inaugurated the exhibition on January 15.


20 films by women screened in fest

“COASTLANDERS 8 to 8” will be screened at the International Dhaka Film Festival

The first documentary about Maltepe Coast and Sureyya Beach : COASTLANDERS 8 to 8

GAZETE İSTANBUL

www. gazeteistanbul.com

COASTLANDERS 8 to 8 is ready for its journey

from the movie COASTLANDERS 8 to 8

The editing procedure has finished and finally “8’den 8’e SAHİLDEKİLER” / “COASTLANDERS 8 to 8” is ready. I would like to  thank to my friends Tamer Gültekin and Umut Can Sevindik for editing  procedure. They did their best despite of their busy schedules.

I am so happy with the music of my short docu and I am thankful to my extra ordinary talented friend Umur Türel for his wonderful, emotional song “Crying Out”. Before, I was thinking about the use some part of piano sonatas but I‘ve changed my mind. While we were talking about the music of the documentary he offered me to use his own music and he lighted a bulb in my mind.  I listened and re listened all night long this song with slight tears in my eyes and called him immediately to say my decision!

Another person whom I’d like to thank for his help and let me used for his old photography archieve about Maltepe Coastline is jurnalist & painter Mr. Aykut Ünker. MAKSEV and also Maltepe Association Board Member Mr. Zeki Hırçın is very helpful and kind too.  In fact I have to thank the other Maltepe residents whom I interviewed and all the people around me who supported me especially my family and close friends.

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