When We Exist - Behind the Scenes

I was stoked when Pink Sky first approached me about creating a music video. Their building emotive tracks are a storytellers playground and their open and trusting approach allowed me to write a story I was passionate to tell. The idea stemmed from their first album Forms, a conceptual album about the journey of AI experiencing emotions for the first time. That resonated with me. I went deeper by asking a few questions. If a lab created AI Beings capable of emotion, how would they test them? How would they get a baseline on what they think and if they feel?

What does it take for AI Beings to feel emotions?

Watch the film below to find out.

It gets pretty intense in the lab. Check out what Pink Sky says about the inspiration behind the song.

Band Statement

“This song emerged unexpectedly from a jam last year, on a day when we were particularly tense—a day when our personal experiences of trauma converged with our collective experiences of trauma—specifically, the climate crisis at all of our feet. “When We Exist” reflects this highly emotional state of anxiety, when the tension of existence is so thick it’s hard to breathe or believe it could ever end. Like these difficult states, “When We Exist” asks for a willingness to sit in the tension in order to be present, to allow the feelings of panic and anxiety to flow freely and fully so they may run their course, rather than being avoided, truncated, or minimized. In repetition, we can enter a trance-like state that opens new doors of seeing and being. This song, as one of several meditations on the album, is about recognizing and allowing difficult feelings to be seen, heard, and shared—even when they are scary.”

Actor Chris Kotcher, Director Philip Carrel and Gaffer Matt Lowing prepare for the first shot.

Art Director Loralee Grace and Lucas Benjamin prepare the wardrobe as cast arrives at the start of the day.

Cinematographer Jeff Sukes frames up the shot.

When you are crewing up for a creative project, being on the same page is key. (it’s page 47 for those following along at home) Collaborating with Cinematographer Jeff Sukes was a dream come true. He knows the technical side of camera and uses that knowledge achieve what his creative aesthetic eye sees. One of my favorite shots of the production came from Jeff recommending we shoot The Scanner playing the organ from behind, creating more mystery.

Art Director Loralee Grace and On-set dresser Meg Case Porter prepare actor Marck Kiselevach for his sweaty close up.

1st AC Tyler Hollman juggles diopters with 2nd AC Joshua Skinner. Photo by Jason Grinde.

The Technical Side of Shooting

Thanks to Tyler Hollman, we had some amazing camera tech on set. As a director I’d rather be close to the actors than shouting direction to them from across a room. Tyler came prepared with several mobile monitors that allowed me to be as close as I needed to be. It also allowed me to communicate more effectively when it came to blocking, performance and set styling. Teradek, the company behind the wireless gear, covered the tech side in more detail. Check it out at the link below.

https://teradek.com/blogs/articles/why-our-director-has-never-been-happier-feat-1st-ac-tyler-hollman

The art department finessing the set.

A color and creativity test served on a tray.

Actor Rachel White looks on as Kim Nguyen tests Tori Moh in a rehearsal.

What do you see?

When I was younger I was tested for dyslexia, the experience was a ticket out of class and individual attention, which I enjoyed. I was given memory puzzles and the Rorschach inkblot test. “What do you see?” they asked, no doubt my imagination and knack for free association came in handy. They decided I did not have dyslexia but would have to carry a spell checker around the rest of my life, it being the naive 90’s they did not realize we would eventually all carry spell checkers one day. Ryan Hay of Pink Sky created original ink blots for the film. it was fun to see them in action and hear the reactions of the cast and crew.

Preparing to film the Ink blot test.

It’s not a party until the dolly grip (Brett “Dutch” Beimers) has a their own chair.

A consistent supporter of West Michigan independent cinema, Lowing Light and Grip, provided lighting and grip gear. They even spruced up an ancient dry ice fogger for the shoot. I appreciate all they do for the community and we could not have pulled off the look of the film without them.

Attention to detail is so important, this is what it looks like in action.

Cinematographer Jeff Sukes wielding the power of light.

1st AD Jackson Ezinga sitting in for the EEG chair scene.

Actor Kim Nguyen holding the tablet in a precise position while 15 people watch.

The Scanner

Our 2nd day was filled with dry ice foggers and red flashing lights, which has a way of tensing up everyone in the vicinity. The Scanner’s main hobby is playing an organ while a mysterious fog rolls around him, it’s a great way for him to relax, but puts everyone else on edge. Hey, he can’t be all business. The Scanner tests each round of Beings for defects, if he finds any, things get dusty. The scientists use this final test to also see how any surviving Beings respond and make notes on what they observe. The Scanner may seem like a villain, but is he really the force behind it?

Laying down the tubes.

One of my favorite frames from behind the scenes photographer Jeen Na.

Jackson Ezinga and Lucas Benjamin working the dry ice fogger.

Musician Ryan Hay of Pink Sky demonstrating the keys as we prep to film close ups.

The Scanner first appears in the lab, played by Matt Plessner

Capturing the Scientist reaction to the Final Test.

Tori Moh and the Scanning Wand.

The three “Beings” are all smiles in the end, so no need to worry about them before you fall asleep.

Check out Pink Sky at https://pinkskymusic.com/

You can also buy their albums at https://pinksky.bandcamp.com/

Pink Sky “When We Exist” Cast and Crew

Featuring
Jazmine Kuyayki Broe
Marck Kiselevach
Tori Moh 
Kim Nguyen
Rachel White 
Matt Plessner 
Chris Kotcher
Ryan Hay
Angelica Hay

Crew
Writer, Producer, Director, Editor - Philip Carrel
Cinematographer - Jeff Sukes
Art Director - Loralee Grace
Colorist - Jason Grinde
Visual Artist - Kevin Luk
1st AD - Jackson Ezinga
1st AC - Tyler Hollman
2nd AC - Joshua Thomas Skinner
Set Dresser, Props - Meg Case Porter
Gaffer - Matt Lowing
Dolly Grip - Brett Beimers
P.A. - Clay Sturgeon
P.A. - Lucas Benjamin
BTS Photographer - Jeen Na

Special Thanks
Lowing Light and Grip
Courtesy Flag
Gorilla
Irie Kitchen

Movement in the Forest

At the end of a hot and buggy Michigan summer, a small group of friends and collaborators came together to make a short dance film. Dancer Yuka Oba of the Grand Rapids Ballet lent her graceful talents to the project and pulled together an improvisational choreography on the day.

Watch the film unfold below.

We conceptually thought of Yuka as an alien arriving on a foreign planet, her initial response is one of anxiety and fear. She is overcome and falls to the forest floor. From there she awakens to the beauty of nature and curiously explores her surroundings. As she progresses deeper into the forest, she becomes one with the earth, the sun and water. Only then does she bloom and share the beauty of this gift.

Yuka Oba awakening to her natural surroundings. Photo by Philip Carrel

After shooting this film, I asked Eric Tempelaere of Bronze Wolf to compose music for the project. As our collaboration progressed he was inspired to put lyrics in the composition. He bounced the idea off of me and I was interested to see where it would go. The resulting track is a nostalgic and poetic journey, that gracefully sweeps you off your feet.

Art Director Loralee Grace keeps the dress looking fresh between takes. Photo by Philip Carrel

Yuka Oba dances in the filtered forest light. Photo by Philip Carrel

John Hanson captures Yuka’s hand movement in the golden light. Photo by Philip Carrel

John Hanson perched on a rock composing the shot. Photo by Philip Carrel

Yuka becomes one with the river Photo by Philip Carrel

With the many unknowns of weather, shooting on film, and dancing on uneven ground, the chance of things going awry was just one misstep away. Luckily the shoot went smoothly and we all enjoyed a beautiful afternoon in the woods, Wrapping just in time for dinner plans.

Watch the behind the scenes below.

When you collaborate with talented individuals you end up saying yes a lot. It’s exciting to come in on the same page and create something beautiful while sharing ideas and strolling through nature. I also really love the sound of film rolling, nothing quite like it, combined with bird song, bugs, and rushing water, I think I am in heaven.

Cast and Crew

Dancer - Yuka Oba

Director / Editor - Philip Carrel

Cinematographer - John Hanson

Art Director - Loralee Grace

Production Support - Dan Muschiana

Colorist - Josh Maczinski

Music - Bronze Wolf

Special Thanks - Ken Schmidt

Finding Wisdom in the Process - The Clay Path

I first met Kate Lewis in Michigan at Dinderbeck, an art collective and now print studio in Grand Rapids. I was drawn in by her calming use of colors and glazes contrasting the raw organic texture of the clay. Over the years I have collected her work, from mugs and dishes to plant pots and tiny hearts delicately shaped. I enjoy many cups of coffee from her beautiful mugs, with friends and family or in reflective solitude. The philosophy behind her work intrigued me and I approached her with the idea of a short documentary to explore her process, motivation and inspiration.

Burnt Sage and Palo Santo

The shoot day began with the same intention Kate puts into her work. As the small crew arrived, Kate began burning sage as a way of cleansing the space to create an open environment for collaboration. She starts at the wheel and creates a handful of bowls and plates as we document her process. The way she molds the clay is mesmerizing to watch, creating movement so fluid it reminds me of water.

Filming Kate at the wheel, Photo by Loralee Grace

I brought a small crew together, working with Cinematographer John Hanson, First AC and Soundie Joe Ashi and Art Director Loralee Grace. Having a small crew is helpful in creating a comfortable space for people to open up and share their story. This is amplified by building a relationship beforehand and having clear communication about what the shoot entails.

Bowls and Plates ready for the kiln

After finishing several new pieces, Kate moves to the drying rack where she signs her work by etching her signature into the dried clay. She then loads the kiln with as many pieces as she can fit. She jokingly calls it “Adult Tetris” as she stacks layers upon layers of work. Once the kiln is fired up, we move outside for an interview. She sits down at a small table with a tray of mugs and handles, attaching them seamlessly as we go into more depth about her journey as an artist.

Ceramic stones by Kate

These ceramic pieces were made as part of an installation, Kate said a mantra as she formed each piece with her hands, infusing them with spiritual energy. The pieces are placed whimsically around her studio, when picked up they feel smooth and polished in your hands, as if you found them on a beach, tumbled by the sea.

Watch the full film below.

I love how Kate’s deeper understanding of her process sheds light on intrinsic truths of the human experience. The process of making art itself is powerful when you are open to what it teaches you. It’s a challenging path but well worth it.

You can learn more about Kate and by her work online at www.katelewisceramics.com

Music by Ejnar Videbæk of Red Head Recordings