I am viewing all the material, from day one. I have about 80 hours, so that’s two weeks of work. Although some stuff will go faster, and other things slower. Anyway, it’s a big job and very necessary before starting post-production (editing) on the 2nd of December. Another goal with this is to create a new trailer, specifically for the FORUM presentation in the last week of November. I am writing everything I see down and dividing it into possible scenes.
It’s an amazing experience I must admit. It’s like reliving those very intense days around the time of the birth of Karla Asuliet and onwards from there. Every day was an experience, brought something unique. I am coming across many moments of which I then thought: “Wow, this is going to make a great scene.” Sometimes I was right, sometimes I wasn’t. But viewing all the material is also confusing. There is so much of it! How are we ever going to even begin to construct a coherent story of this? At times I think I have too much, but at times I also think it’s not strong enough, or defeats the purpose of the film, or whatever…. common doubts right before the editing process.
The title of this post is the formal professional name of what I am doing. Rushes are from the time people only shot on (celluloid) film. You’d shoot all day, and during the night the laboratory would develop your film and “print” a quick (rushed?) viewing copy of the day’s work. Many film shoots still start every day with a very early screening session by the director, cameraman, producer and a few selected others before going onto the set to keep filming. The quick viewing copies, consisting of rolls of positive, projectable but uncorrected and uncut film, are called rushes. Although they are also known as “dailies” for obvious reasons.
Today this lingo is still used, but film isn’t so much anymore, for documentary at least. Now we watch rushes on an Apple Mac laptop in the hotel room.
Here’s an image I came across today. Karla, three days old, is taking a bath…