Greet Kallikorm on SKA-63
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Greet Kallikorm on SKA-63
SKA-63, image courtesy of Greet Kallikorm

SKA-63, image courtesy of Greet Kallikorm

APEngine spoke to Greet Kallikorm about SKA-63, the 3 Minute Wonder that she co-directed, that took its inspiration from The Stanley Kubrick Archives.

How did you set about exploring the Kubrick Archive?

The brief was to make a 3 Minute Wonder film for Channel 4, as part of a Kubrick season, and to accompany a documentary. We were asked to work with The Stanley Kubrick Archives at London College of Communication.

The Kubrick Archive gave us a tour of the premises and showed us some artefacts and described the immense amount of things Kubrick collected, saved and categorised.

What did you find?

One of the most surprising things was the amount of things Kubrick kept and how meticulous he was. We saw a collection of photos of every front door on a long street in East London that Kubrick asked to be photographed so he could find the right front door for Eyes Wide Shut. Also there were production notes, scripts, sketches, costumes, production photos of most of his work. It is a very inspiring place. I wish they had let us loose there but maybe nothing of the place would have remained!

Were there any restrictions about what you could use?

We couldn’t take anything outside the Kubrick Archive and had to ask permission to use any of the originals. We wanted to scan and photograph some of the items for our film but we had to do it strictly under the watchful eye of the helpful archivist, which is understandable. We couldn’t use any of the original music or use any of the actors’ original photos as we didn’t have permission.

What materials did you end up using?

We got a lot of inspiration from the visits to the Archive but in the end we decided to use mostly graphic representations of well known images that feature in Kubrick’s work not any of the actual artefacts.

What does SKA-63 refer to?

We were shown a archive box, noted with SKA-63 on the top, which contained the sweater that Danny, the character, wore in The Shining. It was so tiny, well kept and real. It gave us the idea to use Danny as the main character in our journey through Kubrick’s world.

What’s the film about?

The film is a journey that gives glimpses of Kubrick’s work through the use of recognisable imagery. Kubrick was an established chess player. We went through a lot of chess related titles before our last visit to the Archive and seeing the box again. We asked if SKA-63 was written by Kubrick to give order to his boxes but the archivist couldn’t assure us for sure.

We use chess to show how Kubrick is in a way playing a game with the viewer.

Did you look at other work by artists that use archive material?

We looked at the work of the Brothers Quay in the beginning but our choice of graphic images over using the actual artefacts dictated our style.

Marko Indic, the designer, pitched his red-black-white colour scheme to the course team at the beginning of the project, with his concept of a journey through images of Kubrick’s work. Once the group and I started to work on the idea and research the Archive we found so many graphic, bold patterns and recognisable images that worked well with Marko’s concept. It was also a device to unite all the different film imagery that we used into a new coherent world.

How involved was the production company and Channel 4? What was that experience like?

We were handed a budget and had plenty of production meetings with Channel 4 at all the stages of production. They supported us with advice and contacts in the industry. Being third year students, months away from graduation, it gave us a real sense of how it is to work in the industry but also enriched our portfolios. I think every student just about to graduate should go through this sort of programme to give them confidence in their work.

You were the director – how did the group work together?

We were a group of six students working intensively on the project. I co-directed the film with Adam Carman. On the course we had already had to work on films together so it wasn’t a completely new territory. Emma Walter produced the project and we worked with a wonderful sound designer Roald Madland who created the soundtrack.

What made you want to study animation?

When I was in high school in Spain I was convinced I wanted to do fine art. Once I arrived in London a year later I wanted to do photography. In the end I was fortunate enough to find a Foundation course at London College of Communication that introduced me to animation. I think animation was the right choice for me as it gives me the chance to write a story, create a world and make it all come to life while putting to use my fine art and photography skills.

What are you up to now?

I am currently freelancing as an animator but I will be moving to India for six  months to make a documentary about the hippie community in Goa. When I return in 2010, I start my MA in Animation at the Royal College of Art.

Tuesday, September 1, 2009 | Tagged with , , ,


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