Music

Making little-to-no use of non-diegetic music in the film will help force the focus onto the 'rhythm of life'.

The Role of the Camera

When planning the film's camera movement and placement, it will be important for us to think about the camera's relationship to the movement of the characters: does it follow them? Or does it anticipate and foreshadow their actions? The former option would give the impression of the camera as casual observer, while the latter would imply the playing out of fate.

Careful What You Wish For

Key idea: sometimes being offered what you want leads to anxiety over whether you really want it (and whether you're ready for it).

Life's Just Networking Photographs, September 2009

Here are some photographs from our first event last night! A big thank you to all those who came along. We were pleased with how it went and it seemed like everyone had a good time, so we've decided to make the evening a regular event, running the first Thursday of every month. Our next event will be on 1st October and we are already open for RSVPs – please see www.lifejustisfilm.com/networking.htm for more details. Hope to see you next month!

Filling up.

About to screen the films.

Director Nick Paton (left) talks about his film 'Pandora's Inbox'.

Break.

Lawrence Carmichael (left) and Brett Snelgrove (right) talk about their upcoming projects.

Uriel Emil talks about his next project.

Networking.

Networking.

'Life Just Is' writer/director Alex Barrett in a quiet moment while setting up.

The Violence of the Cut

When using a long take aesthetic, each cut becomes like an act of violence, rupturing the scenic time and space. This must be used to our advantage.