CLIVE WILL
An award winning cinematographer and director who recently made his debue as an indie filmmaker with TSWCISW, his first feature length film.
LOCATION RECORDING
LUOS ERSKIN
DAX GAGE
DIRECTOR & WRITER & EDITOR
CLIVE WILL
​
CINEMATOGRAPHER
LEON BASLER
SOUND POST
MICHAEL SMITH
JOSHUA GOLDMAN
DANIEL ISAACS
​
Joe, a small-town abattoir worker, leads us on this allegorical journey. His dream to fly has impelled him to construct his own helicopter.
​
It's a ramshackle assembly of scrap and found objects. The machine has no real practical capability aside from standing as a monument to his individuality.
It becomes evident that an art buyer has offered money for the flamboyant creation, a mixed blessing that has caused a fracas. The community are unjustifiably demanding a stake in the potential spoils.
Joe must fight them off, or lose all he has worked for.
TSWCINW
ART FILM
B&W
RUNTIME : 2H 51MIN
BRIEF
This film is cerebral, a meditation on human nature. It sympathised with the protagonist and antagonises him at other times. Calming yet disturbing. Caring yet aggressive. The contrast was the name of the game.
​
As a creative, Clive believes in telling a story and achieving his intended message above the importance of adhering to typical standards of film. Therefore we were given time and freedom to make our sound design equally accurate to the massage.
​
Time Spent With Cats Is Never Wasted (TSWCINW) came to us with no audio except for ADR.
​
Clive's directorial vision included minimal music. This meant all of our focus would be on sound design.
RESEARCH
Clive was inspired by films like "Werckmeister Harmonies" (2001) which harkens to the Cinema Verite of the 60s. These films often had drawn-out scenes which contrasts against popular Hollywood cinema. They were academic, artistic and expressionist.
OUR EXECUTION
Great care was taken in placing the foley to make the world feel as natural and raw as possible. Ambience served a similar function in the long drawn-out shots. Ambience told the story of the small town and provide context for the events and how they related to the characters.
​
Shots were all locked off and a lot of dialogue/plot audio happened off-screen as if we were watching a photographic expo of the little town in the Karoo while listening to a story unfold. This gave character to the environment.
​
Similarly, the film featured a sculpture of a helicopter which would reflect the protagonist's mental state.
This helicopter would, as a result, symbolise different emotions at different times. The audio reflected that. It stayed relentlessly apathetic to the character's plight but changed to illustrate the meaning of the scene.
​
In the theme of the film, some moments were almost unbearably quiet while others were very loud. The discomfort was a big part of the film's visuals and we translated that into the sound.
GOING FORWARD
The post-production process was long and we encountered many problems while running on
sub-optimal hardware and software out of necessity.
​
Since that time, we've had the privilege of investing our profits in the tools that create value for our clients and continue to do so as our company and relationships grow.
