Päivä Astrid Menzelin kuvauspaikalla Korpossa

Text & foto: Aarón Blanco Tejedor

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Through this process, I realized how important it is when trying to make a film to find locals who have access to the local network and can make phone calls or Facebook posts to find everything we need: suitable locations, an old TV, a mother with a baby, a father with his son, as just a few examples of the long list of elements we had to find and coordinate in just a few weeks. As the days went by, I could see some of the pieces falling into place somehow magically. When the day came to start filming, most of the parts of the puzzle were already in place and everyone was ready to follow Astrid’s creative vision and begin creating a movie.

I could only assist on the first of the three filming days, so I was ready to do my best. I packed most of my gear in case it was needed on set and drove to AARK. There, I was introduced to Marko Luukkonen, an artist and senior lecturer at the Turku University of Applied Sciences, who would be the director of photography (commonly known as DOP). We began building the first scene by positioning the camera, considering the lighting, and replacing some elements in the scene. As soon as the local talents arrived, Astrid instructed them on the requirements for the scene, and after a short rehearsal and lunch, it was time to start filming—how exciting!

The recording day begins

We spent the next five hours filming two scenes for the movie. I noticed that Astrid did not give many instructions to the actors; instead, she focused on encouraging them to build their own characters by tapping into their feelings and memories. The first scene was solemn, sad, and slow—a long take of an old man dying in bed while some of his family members entered the room to be with him in his final moments. While recording the different takes, she took notes, observed quietly, and respected the flow of the actors and the scene. She would only cut the scene when strictly necessary, and after some instructions, the entire scene would need to be recorded again in one single take.

It was a slow and introspective process, filled with silence and reflection. During the pauses when Astrid exchanged words with the actors, Marko and I seized the opportunity to slightly adjust the intensity of some lights, add a small light to better illuminate the old man’s face from the corridor, or consider how to increase just a tiny bit the overall exposure of the scene and things like that. Since the framing was fixed and well thought out, and the elements in the room were correctly placed within the composition, it was primarily about sculpting the light of the scene to convey the desired feeling. It is often said that filming, as well as photography, is “all about the light”.

The day of shooting was exhilarating, intense and exhausting. As we moved through the scenes, I found myself immersed in the atmosphere created by the actors and Astrid’s careful direction. The collaborative spirit of the crew was contagious, and I appreciated how each member contributed to the unfolding story. I learned the importance of patience in filmmaking; each take required meticulous attention and a willingness to adjust based on the actors’ performances. Observing Astrid’s leadership was particularly inspiring; she fostered a space where creativity could flourish, allowing the actors to explore their roles deeply, which in turn enriched the emotional depth of the film.

The first day of shooting came to an end. I packed up all my stuff, gave everyone involved a big hug, and as I drove home, I began to reflect on the experience and how I had learned invaluable insights into the practical aspects of filmmaking that are not easily conveyed through online tutorials. I learned the importance of maintaining clear communication with the team and staying flexible as the creative process evolves. Every decision, whether it be lighting, camera angles, or actor direction, has a significant impact on the final product. This real-world experience not only deepened my understanding of the technical skills required to make a film, but also highlighted the collaborative nature of filmmaking.

As I sit down to write this article, I think about the important role a place like AARK plays in the small community in which we live. It brings together people from all over the world, each with different motivations, ideas, and experiences. Each time I meet with one of the artists in residence, it is an opportunity to learn something new and to be enlightened by the thoughts and reflections of those who dedicate their lives to reflecting on some of the most important questions of human existence.

If you are reading these words and feel a little curious, all you have to do is come to one of the many open studios that AARK organizes throughout the year and meet the artists and the residency directors, Renja and Benkku. You will feel inspired.

Finally, I would like to take this opportunity to thank Astrid Menzel for choosing Korpo as the location for her next movie, for her motivation, her drive and her inspiring vision and personality. For allowing me to be a part of the pre-production and the actual filming. I am incredibly excited to see the final movie when it is finished.