Burning Heart presents a Lauralee Farrer production

Archive for August, 2012

Du, gestern Knabe, dem die Wirrnis kam

Yesterday you were a boy,
today blind passion makes your blood swell.

You do not mean to seek lust but joy;
you have been chosen as a groom
whose desire is only for his bride.

But the spirit of lust pulls at you,
even ordinary arms suggest nakedness.
Even pale cheeks on pious paintings
blush with strange appeal.
Desire twists like a snake,
rising to the beat of the tambourine.

Suddenly you are left alone
with hands that will betray you
unless your will delivers a miracle.
But news from God comes
rushing through dark alleys
into your heart.

Rainer Maria Rilke, The Book of Hours, I, 38
translation by Martina Nagel, illustration by Denise Louise Klitsie,
from Praying the Hours in Ordinary Life (Cascade Books, 2010)

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Setting Things in Motion, Keeping Them in Motion

by Lauralee Farrer

Francis Ford Coppola said that a film gets made three times: when it’s written, again when it’s shot, and yet again when it’s edited. These are all crucial stages to storytelling in film, and each one has its own demands and creative requirements.

We are in a season where all those stages are intermingling: we are editing Compline and None; syncing Terce so it can enter the editing process; shooting pick-ups for Terce and None; finishing scripts while in preproduction for Sext and Prime; and drafting treatments for Vigils and Lauds. That doesn’t take into account all the ancillary elements to keeping a production going. Blogs and tweets and posting facebook updates and finding money, filling out our equipment packages, casting, securing locations and navigating the never-ending challenge of no-budget filmmaking: scheduling.

It’s good to stop at this stage and acknowledge that everyone who lends a hand during this time is donating to the Praying the Hours project. The hours that Meaghan Baldwin has spent in Pasadena sync’ing audio and picture for Terce. The hours that Greg King has spent at his studio in Los Angeles helping to define the editing style for the project through his work on Compline, or those spent by Patrick Duff helping to bring the footage for None to life. The hours and hours and hours spent by producers Rob Bethke, Ron Allchin, Matt Webb and Tamara McMahon who meet weekly to keep things in motion, to schedule (and reschedule), to search for lens prices, to ingest or copy footage, to color correct stills and to send the scores of emails necessary to firm up all the details of an active production shoot. And those who pray and who send money. All of them, filmmakers.