Skin is an always seen, yet barely explored world. This film will document the series of creative experiments that'll bring this world out from hiding under the surface and put it onto the big screen. “in.” aims to scrape away the normality of skin and let the unusual ooze out.
Lizzie Jones' personal encounter with skin-picking disorder presented the opportunity to direct a film that comes from a newfound respect for something she once abused. She's no stranger to playing with ideas; from printing a short trilogy of books that try and converse with the reader to creating surreal illustrations, she is experienced across a wide range of mediums. Over her 3-year study at Bournemouth Film School, she's endeavoured to build a wealth of work that's rewarding not just to watch, but to be a part of creating as well.
Pawel Sarniewicz is the Producer of this film. He is experienced in a variety of occupations, from industrial abseiling as a professional career –to filmmaking past his 30s. Passionate about translating creative artwork into practical application, he has an individual approach of a fully formed hard-worker. Practical, reliable and well organised, he got involved in the project from its very inception, as he believes this film is a unique piece.
Elizabeth Karlova is the co-producer of our project. She has produced more than 12 projects over the course of her degree. Working on a documentary is a new, exciting experience for her, a chance to put in practice her approaches towards hospitality, crew management and her understanding of people's interest. Elizabeth is responsible for the formal side of the film, namely the documents and preparation for the implementation of the project.
Pau Mateu Sáez is the Cinematographer in charge of the visuals of the film. Recently he has been working on exhibitions on his candid photography and poetry, with a published book of his work. Constantly interested in others’ unique perspective, he has focused on forming a diverse team and collaboratively exploring this film. The process include experimentation with still and moving image. Celluloid is an ideal medium that would allow the team to perform the research they desire, as well as collage and scientific sampling. The majority of the cinematography budget will go to the option of shooting sections on film.
Alex Day is the Sound recordist and editor in charge of creating the soundscape for the film. He has been working on films in the sound and camera department, not only through his degree but also outside of university. He has an interest in the relationship between visual and audio in film and is currently working with a music label to create films for their artists.
Himank Goyal is the H.O.D editor who will oversee the editing of the footage and will shape characters and perspective, thereby creating a comprehensive onscreen narrative. Throughout his degree course, he has worked on various films with roles ranging from 1st AD to script supervisor and editor. He has also been collaborating with actors and sound editors on the small budget project, outside of the university to expand his experience in editing. He is very excited about editing “in.” as a chance to take a part in such a one-of-a-kind film.
Sam Newton-Matthes is one of the editors who will be compiling the footage together into a finished piece. Throughout his three years on this course he has made a diverse pool of documentaries, from an exploration of body language through a Lithuanian dinner party to an observation of a microcosm formed within the heart of a hospital. The experimental nature of this project is new to him, but an attractive incentive to grow in a different area of documentary. He is excited to get involved in the production process to maintain an understanding of how the project progresses and allow a close collaboration with the other departments.
Excerpts from the film's research bible:
Stills from Pau's video research:
The majority of the money raised for this film will go towards the different tools we will use for both experimenting and recording. As mentioned above, we are going to be shooting on and manipulating physical film for some parts of this documentary. Not only will there be costs when it comes to processing the footage, but also for the materials required for interacting with the film negatives in different ways. Additionally, foley materials and specialist mics will be needed when it comes to researching the audio qualities of skin.
There will also be intensive work periods in a studio space, so there will be costs involved in hiring the location and transporting the necessary crew and equipment to and from the studio.