Saturday, June 14, 2014


 I'm use to developing digital films on my own.  However, for this Spaces Between Time featurette I'm open to ideas from the production team.  Case in point; Filmmaker Scott Hellon (Point of View Pictures) who is assisting in the production.  I stopped in Tucson the other day and we had something to eat while reviewing a brief edit of early scenes from my laptop.  I was really fixed on the idea of beginning this film with a moment of serendipity that happened and helped launch a creative filmmaking period for me in the years 2005 & 2006. 
After looking at my short edit for the introduction,  Scott felt the 'moment of serendipity' that I eluded to earlier wasn't working with the stronger images that were to follow in the edit.  I thought about it and agreed with Scott the some footage would have to find a home elsewhere in the film, or be simply removed. 
Scott Hellon working sound on the set of Wastelander
Regina Aroneo and I have had an ongoing dialog about film and culture for about 15-years.  As an educator, Gina's instinctively collaborative.  After reviewing what I filmed of her conversation with artist Peggy Kane last week for The Spaces Between Time; Gina conveyed to me that Peggy's discussion of the metaphysical elements present in her artwork was perfect for the story that we have established.  Being absorbed with technical aspects of the film, I trust Gina's assessment of the interview and now my job as the director is to identify essential elements in the interview that can be applied to this documentary.
Regina Aroneo filmed with a PXL2000 (Pixelvison) Camera

Metaphysical Elements

This past weekend writer-producer for The Spaces Between Time, Gina Aroneo, engaged Arivaca artist Peggy Kane in a conversation about her metaphysical paintings that inspired concepts in Outskirts of Infinity and helped establish the filmic frame-work that led to a sense of timelessness and contemplation of inter-dimensional gateways in the film.
Above: Still image from digital video of Peggy Kane in her studio (Arivaca, AZ)

[Pre-Production journal entry from September of 2013]:  Peggy Kane's contribution (as an artist) will be more focused on the metaphysical elements of her artwork used in the film; the Jaguar (as the shape-shifting Shaman) photographed around the mountains of Ruby; time travel and other areas where she encounters a vision.