Making a gorgeous kusudama-flower bridal bouquet (that doubles as a nice eco-friendly wedding favour) from cut-up pieces of incomprehensible scholarly articles that you were forced to print out for coursework research and now have no use for.
I feel like I would be a bad student if I didn’t properly cite my bouquet… So in case anyone’s interested:
Peter J. Pels, “The Spirit of Matter: On Fetish, Rarity, Fact and Fancy.” In Border Fetishisms: Material Objects in Unstable Spaces, ed. Patricia Spyer (New York: Routledge, 2001), 91-121.
Peter J. Pels, “Magical Things: On Fetishes, Commodities and Computers.” In The Oxford Handbook of Material Culture Studies, ed. D. Hicks and M.C. Beaudry (Oxford: Oxford University Press, 2010), 613-33.
Ming-Bao Yue, “Nostalgia for the Future: Cultural Revolution Memory in Two Transnational Chinese Narratives.” The China Review 5, no. 2(Autumn 2005), 43-63.
hello everyone !!! i recently hit 1k a while ago, and i thought i would make one of these !! it’s been really nice talking to you all and ive made some really rad friends, and i wanted to thank all of u guys !!
A sample call sheet from Heaven Sent. This was the day we shot at Caerphilly Castle. #BTS
Scenes. Partial scenes. Strips flying everywhere. The breaking down of the episode was so complex, the AD, Scott Bates, created his own numbering system to help the cast (singular) and crew understand which portion of which scene we would be filming in what order in what location.
Example: 11/1PT 2/9 indicates episode 11 scene 1 part 2 of 9 parts. Please refer to my previous post to understand how one scene could require 9 different locations.
11/91 J1 + J2. Episode 11, scene 91. J stands for the portion of the repeated montage (#spoiler) piece we would be shooting and 1 stands for which iteration. So in this case, there were 2 scripted iterations in the flashback montage, in addition to the original footage. This notation allowed us to refer to how many different angles were specifically scripted for each montage piece (along with the original version of the scene). Not all scene showed up in all iterations, so the system might have B1, B2 and B6, omitting B3-5. indicating that that scene was not scripted for iterations 3 through 5.
We were not certain that we would use different angles every time, but we wanted the option. We were not certain that we would use the scenes as script for each iteration. (We didn’t. But the script did provide the template from which editor Will Oswald, in conjunction with team, came up with the wonderful rhythmic sequence. Will added numerous flourishes – including details like opening doors more than once in a row – white flashes – sound design, etc etc – feel free to attempt to break it down. We were concerned it would not pass QC in terms of epilepsy or seizures).
The Caerphilly shoot day was complicated by:
1) The Doctor had to be both dry and wet - twice.
2) He had to be burnt faced and clean faced.
3) We had very restrictive hours on the drone.
4) To maximize our location shoot day, we had a splinter unit shooting as well.
In an ideal world (which filming is not), I choose to do the most difficult scenes first, and end with the material that is easier and can be rushed if necessary. However, because we needed nighttime for the Soup scene, this had to be shot last. This made me worried that we would run out of time, and not be able to shoot the ‘Citizen Kane”-inspired shot, which needed to be done at Caerphilly and would never have been able to be replicated on the stage – the massive room, the perfect tall leaded windows, etc. It was clear to me that if we ran out of time on this complicated day – moving all around a difficult castle location – a smaller version of the scene could have been on stage (”the Doctor eats his soup”). But I had my own theory of what the scene meant in the whole 2nd act, and I really didn’t want to give it up. Obsessional behavior is common in directors. I try not to take it out on friends and family.