I traveled from Melbourne to Los Angeles, which was quite a heavy trip indeed. Riding with Air China Southern first from Melbourne to China (9,5h), and from there to LA (13h), including 3,5h stopover and 3 hours in immigration… Arriving to our joint I felt like I was driven over by a panzerwagon… Anyway, now that I’m here, I’ve been recovering from the time difference, had some meetings and has been doing ADR with Udo Kier. Udo was also kind enough to invite me over to the premiere of Melancholia, a film which I absolutely adored and was completely blown off by it’s excellency, and I even got to meet quickly with lovely Kirsten Dunst <3
Here's one quite a hefty Director's Diary from my great day doing ADR with Udo, where he shares his own view on the story of Iron Sky, and even comes up with quite a good opening for the sequel!
One of the biggest and the most challenging roles in the film is the one of Washington, played byChristoper Kirby. His character is an American “astronaut” of sorts that gets in big trouble with the Moon Nazis, and his story is one of the biggest and freakiest in the film. Chris is not the son of yesterday’s grouse, as we in Finland say. I know it doesn’t make any sense, and it really doesn’t, but it means that he’s been around for quite a while, and done some quite impressive films and TV in his career. Chris started out in an episode of Quantum Leap (so he knows the great Scott Bakula!!), and after that he’s been working on shows like Flipper and Beastmaster, and in films he’s done roles in Matrix Revolutions, Daybreakers, and Star Wars: Episode III, and his upcoming movie called Movie 43 seems to be quite an interesting one. So he’s an experienced, very talented actor who was willing to go all the way to hell and back for this film, and he quite literally did.
In this episode of Director’s Diary, which I shot after a full 10-hour ADR day, consisting of around 100 loops which is A MASSIVE AMOUNT, I’m having a chat with Chris about his thoughts on the film.
This time, the music for this is provided by an artist called Max Farnea, and his song Contro Il Mondo, from the album Drop Paths. Check it out, it’s available for free here! And you can listen to it straight away, here:
Crazy flight… 33 hours of horror, and finally landed to Melbourne, and straight from airport to Soundfirm and to do some ADR.
It was great to get back to working with Peta Sergeant, who plays the role of Vivian Wagner in the film; she’s really an active and really passionate actress, and threw herself into the ADR with as much passion as if she was doing it on the day.
I’ve found my relationship with ADR to be partly love, partly hate – sometimes I feel like a good ADR might add to the performance, sometimes even quite a bit, but sometimes when actor has nailed it on the shoot perfectly, replicating that can be extremely hard, even impossible.
Ps. Directing Under Jetlag (DUJ) should not be prohibited.
Music for this episode was provided by a Finnish band Manbööbs, check out more of their music here:
And while at it, why not check another band by the artist Tuomas Sirola, called “the sQueak”
Every week me and Mika Orasmaa (our Director of Photography) go over to Post Control, where we watch all the new shots Energia has delivered for final approvals. The idea of the approval screenings is that we have perfect conditions with Mika to go through in detail every bit and piece in the film, and send comments, requests and wishes back to Energia.
Ideally, all the creative work has been done before the approval screenings, and all the mistakes have been fixed so it’s just me and Mika having the final look of the material and then giving it the green light, and it’s being added to the online edit. Of course, we don’t live in an ideal world, so there might be small and even sometimes bigger things to note on each shot, stuff that’s visible only on a big enough screen or otherwise something that’s been left there for some reason. I make notes based on the intensity or severity of the problem – HIGH means it needs to be fixed, MED means that it bugs me but won’t stop being in the big picture and probably nobody else will notice it and LOW means it’s just a matter of few little things and if the shot is being opened anyhow, then maybe those fixes can be made.
Mika and Jussi getting ready for an approval screening at Post Control
In addition to technical notes, sometimes I might come up with an idea or two as I look at the shots on how to improve them. I write the ideas down and send them as well to Energia. It’s a bit of a pain in the ass for Energia because everybody is running on an extremely tight schedule, and by definition the creative work for the shots should have been finalize already, but sometimes you can spot what’s missing in the picture not before you actually have the picture in more-or-less finalized form in front of you.
Approval screening process is a good, clear and effective way to make sure everyone is on the same page on the CGI post production. All the comments and wishes I have are also viewable to the Post Production SupervisorAnne Urban and the producers, so they can intercept me if I suddenly request something that’s going to make a remarkable blow to the budget or schedules.
The music for this episode was provided by Feuerfalke. The song is called “Meteorblitzkrieg“, and can be viewed here in full length. Feuerfalke is also among the artists of the upcoming Das Leben der Mondsoldaten -krautfunding-album for Iron Sky, that’s an by-fan-for-fans -album comprising of 10 awesome tracks by bunch of great artists, inspired by Iron Sky. The album is coming out later this year, but more info on that later! More info on the guys here: