To Be a Feature Film

‘An Interactive Movie’. Notes by creative producer M. Athol Hepburn.

Some notes stimulated by seemingly forward thinking guff about transmedia experience being the future of story-telling

eg. http://nofilmschool.com/2013/09/transmedia-birth-of-a-new-art-form/?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+nofilmschool+%28nofilmschool%29As a movie, ‘Blood & Mortar’ seeks to be an “…unnaturally disturbing feature film” (perhaps describable as a post-industrial, neo-gothic piece), which will “…entertain, horrify and…”

ultimately…

“…reveal The Capital’s deepest darkest secret.”

This latter aspect points directly at the other entire goal of ‘Blood & Mortar’, which is to be an interactive experience, in fact, part of an ongoing interactive experience. But not of the type alluded to, almost evangelically, by the latest generation of, essentially, ‘virtual-reality’, by any other name, advocates.
Interactive engagement in the ‘Blood & Mortar’ story is a pervasive experience. Its key note is a recognition of the untrammeled power of the human imagination and a consequent non-dependence on technology to augment it. In fact the filmic outcome is nothing more than an effort to represent it and to provide a shared platform to temporarily express it.  

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Buying in to a certain conventional wisdom, the creative producer has nevertheless agreed to prioritise the filmic outcome in terms of what we as a production team are projecting on to the public awareness.
He is agreed that the production of a feature film is such a substantial undertaking that we should concentrate on that. But at the same time it should be understood that we are especially contributing to the development of the art form by one of the ways that we are producing the movie. And that way is by encouraging an ongoing pervasive interaction with it’s story (and its production).

This engagement has and will continue to be discussed and developed in other forums. But for here let it suffice to say that the ‘Blood & Mortar’ story emerges out of a collective vision of a world that exists at the edge of the mundane world, beyond which lays a void of incomprehensible phenomena, utterly horrifying without some form of proven guidance and initiation.  
From it’s pre-conception the ‘Blood & Mortar’ story has ostensibly developed out of engagement and investigation into such orders of reality. And throughout its development there have been constant opportunities for other brave souls to come along for the journey, guided, if you like, by the experience of the instigators.
More specifically, certain cultural agents who are more or less experienced with such engagement have cultivated the circumstances for development of an urban legend which is embedded within the greater millieu, for participation in the way the truth behind it ultimately comes to light, and, beyond that, what this actually leads to.

ImageThe conception of the movie, the campaign to make the movie, the production of the movie, and the revelation and repercussions of such once the movie is released, are all part of shared, interactive experience, in which the imagination of participants is paramount and the mode of engagement pervasive and encompassing of both virtual and physical platforms.

Ultimately the interactive experience aught not to embed the participant in yet another apparently concrete ‘reality’ like a ‘second-life’ or a ‘virtual reality’ but should free them up from such limitations and afford a glimpse of the nebulousness of so-called reality and the power of imagination.
The world which is co-created and represented in ‘Blood & Mortar’ is not, ultimately, powerful because it is ‘like it is real’ but because it is real and unreal while casting light on deep dark places of the human experience.

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Smash Palace

New Summoning Card is released as the ‘Blood & Mortar’ campaign re-surfaces

‘Blood & Mortar’ crew and supporters crashed The Front, at the Lyneham shops, this past cold Monday evening, gathering around a roaring fire-bin and opening minds and hearts to the particular magic which is the campaign to bring the story of our capital’s deepest darkest secret to light.

On an auspicious full moon night, MC Hepburn sacrificed the effigy of policy and procedure. Blood and Mortar is ready to ditch the bureaucracy in favour of spontaneity and productivity.

MC Hepburn

A new collectible summoning card was released, and manifested itself in the Front Gallery space.

Card 7 manifestation

Card 7 – The Chariot

The First Australian Chief (face of Major General Sir William Throsby Bridges) adorns this card. Bridges, mysteriously, was the only soldier to be repatriated after his death at Gallipoli and have his tomb designed by Burley Griffin himself. Two sphinxes, with the faces of rival Prime Ministers throughout the Capital’s foundation years, Cook and Fisher, lie harnessed to the chariot, the ultimate power source of which is a far deeper mystery still.

Smash Palace continued inside the front, with beers and stencil cutting to promote the blog and spread the word!

Front Crafternoon

Teffany and Anna consider possible stencil designs and ponder moustache possibilities.

Stencil

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‘Blood & Mortar’ is a feature film project undertaken by the cultural phenomenon C. Edge, known as Centenary Edge from March 2013 – March 2014. ‘Blood & Mortar’ seeks to get behind the capital’s boosted façade, revealing frightening details of its deepest darkest secret and its re-emergence in the present time. ‘Blood & Mortar’ is now looking for brave participants… especially acting talent.

If you are interested in engaging with this darkly revelatory production then please make contact with one of its cultural agents asap.

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Architects of Corruption- the bigger picture

The story so far, part 1… By M. Athol Hepburn

Recently returned to The Capital, cultural agent M. Athol Hepburn is secretly contracted by a party, who must as yet remain anonymous, to assist in creating the conditions for the telling of a shocking story that will change the lives of its citizens, and even the nation’s populace, for evermore.

While the celebrations of the centenary of the nation’s capital city commence and move ahead apace, Hepburn and a hand-picked crew begin a series of underground events, under the umbrella of cultural phenomenon and fringe centenary organisation, Centenary Edge, to sow the seeds of interest in the true story behind the building of The Capital and the architects of the corruption of its guiding principles.

Arcimboldo-esque masked Fool

Arcimboldo-esque masked Fool

Centenary Edge first produces a ‘Catalytic Art Ceremony’ as the culmination of interactive art activities at the wonderful Village Festival in Glebe Park. Playing out against the backdrop of The Capital’s boosteristic birthday brouhaha, and at the auspicious time of the autumn equinox, one of the ceremony’s effects is to divert some of the energy of the government sanctioned Centenary celebrations into the nascent Centenary Edge and its inaugural project, to be known as ‘Blood & Mortar’. As a savagely beautiful gorilla celebrant sets fire to the crown of a magnificent giant female effigy (‘of Wish Fulfilment’), and the smoke from secret offerings rises to the twilit sky, an Arcimboldo-esque masked Fool (self-titled ‘Herald of The Edge’) cries out: “We have arrived at the Edge of the Night and of the dark side of the Year. Believe What You Will… from here!” Then the entrancing sounds of Orbis Tertius playing live on the backdrop stage, the music of the Dimension of the Mind, washes over all present. To a dance of ecstasy and awe, the ‘Blood & Mortar’ project is born.

Prising open the door- between the living and the dead

Prising open the door- between the living and the dead

Not yet in a position to explain the specific imperative behind ‘Blood & Mortar’, Centenary Edge then moves fast in accord with its plan to roll out a program demonstrating what may be achieved culturally and artistically with as little regulation from the government as possible. Committed people gather at secret soirees at first, and more formal meetings are held. Hepburn and his young associate, one Alex Harker, collaborating with a crack team of guerrilla artists, enact the decision to disseminate the back-story to The Capital’s deepest darkest secret through the agency of  a series of ‘picture cards’ presenting pieces of said story along with embedded keys to the very mysteries of which the story is part. Each card’s release coincides with a date auspicious beyond the vagrancies of society, economics and politics; marking thus far The Southern Day of The Dead and a Penumbral Eclipse of the Full Moon, and side-tracking via the culturally auspicious opening of fellow cultural agent Teffany Thiedeman’s cuttingly critical whilst sublimely beautiful exhibition ‘Abode’. Having  first cracked open the doors of perception with its equinoctial Catalytic Art Ceremony, the ‘Blood & Mortar’ team, guided by ceremonial activist Hepburn, prises them further apart with these observances. Hence the ‘Blood & Mortar’ project steps out of the shadows and into a devised energy vortex readying to launch its time-travelling back-story course upon a largely unsuspecting public…

Another Summoning Card is revealed

Another Summoning Card is revealed

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