Stand By Your Man is by far the largest collaborative project I have done so far in my artistic practice.
As shown in the credits of this film - I had a lot of help from various friends and members of WCA staff with this project. This page outlines the help I had from each of these people in putting together the film.
Visiting costume rental outlets/shops with Rachel Lonsdale. Angels Fancy Dress and The Islington Costume Store.
Seeking help with the making of this film I created these posters and put them around the WCA building - the initial intention of this was to find a costume student who could help me to put together an accurate costume for the film.
I received two responses I received to this poster, one from Annette Ollerearnshaw, course leader for BA Performance at WCA and the other from Cora S. De Rojas, a first-year BA set design student at WCA.
Above is a timelapse of Annette styling my hair for the video. Annette was an incredible person to work with. As a former director of Costume at The National Theatre she was a fantastic person to talk to about the business of theatrical production. I feel very privileged to have worked with her. She was endlessly supportive of the project and made sure to come to see the finished film when it was shown at The Copeland Gallery in our show "Penultimatum".
For help with the huge amount of professional-grade lighting rented and used within the filming of the project, I reached out to Louie Sparkes - a friend who is, very conveniently, a gaffer. There is no way this project would have been as successful as it was without Louie's help with the lighting or the advice he was able to give on set - due to his prior experiences of shooting in green screen studios.
Hair by Annette
Lighting by Louie Sparkes
Cameras by Cora S. De Rojas
Cora S. De Rojas responded to the "Country Collaboration" posters I put up around the university building and offered to help with the project. Cora is studying set design at WCA but also had experience making student films and took on the role of camera assistant for the shoot.
Finally, for help with the editing of the film I reached out to Film and Video technician Ursula Pelczar. Ursula was immensely helpful with helping me get to grips with an entirely new editing software - Adobe After Effects - that allowed me to use more sophisticated ultra key (green screen) effects than those available in Adobe Premiere Pro - the knowledge of which has hugely influence my practise and each of the following films I went on to make over the rest of this unit.