RETURN TO AXIS (working title)

A short art-house film about two individuals who, during a rare eclipse, find their way back to their axis through the dissolution of their love, acceptance of a tragedy, and the freedom that an apology can give.


THE TEAM

Photos by: Andi Atherton, Caroline Sicard, Omara González


Written/Directed/Filmed/Edited/Sound design: Paolo A. Santos

Actors: Ruth Robles, Roseli Arias, Alan Ramirez

Make-up artist: Fernanda Alcalde

Choreography and performance: Alan Ramirez and Roseli Arias

Song “Aún” performed and produced by: Ruth Robles

Executive producers: Paolo A. Santos, Ruth Robles & Roseli Arias


Sometimes, trying to clear my mind causes more obstruction that denies me escape.

Backstory: For many years, I struggled with an immense sense of sadness every time I woke up. This nagged me, as its origin was a mystery.

When I lived in Nevada, I watched sunsets almost daily over Las Vegas. The light struck buildings just at the right angle, which made them gleam and gave the mountain ridges on the horizon a glow that made me go into deep introspection.

It was then that I realized I was afflicted with a serious case of cognitive dissonance that threw my psyche out of whack.

In my preteen years in the Philippines, I went to a private school where I was bullied terribly. My soft nature made me a target, and my love of nature made my mind wander during classes, which my teachers ensured that I was punished for. All because I found more value in daydreaming and drawing animals. I also felt low most of the time, as I was labeled weak and slow. 


The inescapable feeling for what I have done.


I understood that forgiveness and acceptance of the past were the correct course of action, yet my need for some measure of justice made it difficult for me to reconcile with peace. I became a gym rat, I sparred ferociously, I fought in the streets with vengeance . . . I became a bully.

This was the sadness, but I knew I had to change, and art was my way out.

In Montreal, I worked with a dancer on this project in its early inception, however, I was offered a job in Cambodia that I couldn’t pass on. At the time, I thought the project was dead in the water so I chucked it into the proverbial waste basket.

Years later, I met two amazing women, Ruth Robles and Roseli Arias—they are artists at Vidanta Resort’s resident show, JOYA, by Cirque du Soleil—and all of a sudden, the project, like having a soul of its own, demanded that I fish it out of the trash.


The sadness and madness in me, I see in you and I have grown to hate you for it

     “When I was young, there were times when I felt invincible. Now, most of the time, I feel invisible” 

I an not sharing my heart with someone else, its immensity is more than enough to love many times over without the need to only give parts of it, but rather, its entirety . . . one heart for me, for you, for somebody else..


The film will be in Spanish, as I want to show respect to my host country of Mexico, and Spanish is Ruth’s and Roseli’s mother tongue. I did not want them to play characters; I appreciate and respect them for who they are, so that is what I wanted to see on screen—they be who they truly are—but just in a fictional story.

The choreography was created and performed by Roseli and Alan Ramirez (another artist in the JOYA show) and the song will be written, performed, and produced by Ruth.


BTS shot of Alan Ramirez. Photo: Fernanda Alcalde

The sudden realization that I am no longer here.

The confusing part is, I do know what to say, yet saying it will call the devil back.


To wrap this up, here is a section of the text:

“There is something about the impact of an offence that changes the heart; it breaks it, it hardens it, it misleads it.

 The harsh truth is that none of us will go through life without being hurt, and sometimes we play the villain in someone's life and hurt them.

 Some say that a broken heart can never truly be mended and that the jagged lines of the fracture will always remain. I chose to believe that the power of a sincere apology is greater if we accept it truthfully, free of rancour and foolish pride, and that if we love hard enough, it can restore the heart and set us free.”



© 2024 Paolo A. Santos. All Rights Reserved.

Enduring the sandstorm for art sake


Back in 2012 (Yes we know this is many years behind) we worked with Vanessa-Reyes-Golding (Performer with Cirque du Soleil) to produce Metamorphosis, a performer show reel to feature Vanessa's skills in dance, silk work, character work and pole artistry.   

She was up at the crack of dawn for make-up and body paint, and endured several hours in a cold dust storm in the middle of the desert near Las Vegas, Nevada - what a real trooper Vanessa was, and kudos to the team that endured the cold, wind and dust with her.

Please scroll all the way down to see the final work Metamorphosis on Vimeo.

Below is the short BTS (behind the scenes) with selected clips of the painful process.  Video length: 51 seconds  

Vanessa running for the car while Director and DP, Paolo, grabs a clip, and make-up and body paint artist, Adolfo snaps a shot with his phone.

Vanessa running for the car while Director and DP, Paolo, grabs a clip, and make-up and body paint artist, Adolfo snaps a shot with his phone.

Vanessa and Director and DP, Paolo, braces for the dust storm.

Vanessa and Director and DP, Paolo, braces for the dust storm.

Vanessa's Dad watches over the production.

Vanessa's Dad watches over the production.

Make-up and body paint artist, Adolfo Barreto with green touch ups.

Make-up and body paint artist, Adolfo Barreto with green touch ups.

Shooting low.

Shooting low.

Below is the final work Metamorphosis  


 

 

 

Light Saver - Goal Zero on set.

Light Saver - Goal Zero on set.

During Sebastien Lacombe's music video shoot for La Vie, Goal Zero's new Light-A-Life (powered by the Sherpa 100 and Yeti 400) saved the lighting set-up.  The 350 lumens of these multipurpose outdoor lights provided just the right coverage and illumination to support the set of Arri lights we had on board.  The magnets on the back of the lights and the adjustable hooks made it easy to rig them up where they were needed.  The Sherpa 100 and Yeti 400 provided lasting power for the long 2 days of filming. 

Key Grip, René Arseneau, adding diffusion on Goal Zero's Light-A-Life to add fill lights for the talent.

Singer, songwriter and musician, Sebastien Lacombe, with Key Grip, René Arseneau setting up the shot.

Singer, songwriter and musician, Sebastien Lacombe, with Key Grip, René Arseneau setting up the shot.

Light-A-Life powered by the Yeti 400 and Sherpa 100.

Light-A-Life powered by the Yeti 400 and Sherpa 100.

This Life 2

This is a personal video that Caroline and I created to share our experience of a few areas in Maui, Wyoming, Page, Arizona, New Mexico and Utah. Hopefully this video and Damien's beautiful song will inspire more respect and appreciation for nature and conscientious travel. Shot & cut: Paolo A. Santos and Caroline Sicard

Music: Cloudy Shoes by Damien Jurado Label: Secretly Canadian URL: damienjurado.com
itunes.apple.com/album/cloudy-shoes/id372005733?i=372005758&ign-mpt=uo%3D5
amazon.com/dp/B003LWQN3W/

CARBON CORE

A portable video camera slider is an essential tool for independent filmmakers, and for small productions. For several years, Caroline and I hauled around a slider for all our assignments, and although it was a “travel-slider” (38″), it had heft to it, and required a protective case for long travels.  Although it served us well, it was an absolute burden in long hikes in the wilderness and in urban treks.  Many “portable” sliders out there do address size and weight “friendliness”, but when you factor in other gears that filmmakers-on-the-move are required to carry, and the distances needed to be traversed to get to locations, every ounce kept or removed makes a tremendous difference in helping limit or exacerbate fatigue.

So we made it our mission to find a new slider.

After many hours scouring the net and reading forums, we finally discovered the perfect slider for filmmakers like us – Rhino Camera Gear’s two-foot Carbon-core slider!  www.rhinocameragear.com 

Waiting to rock the Pani GH4 on set in the Philippines.

Waiting to rock the Pani GH4 on set in the Philippines.

In 2014, while Caroline was in Singapore, I travelled to the French Riviera; it was the second location for a music video production, and it was a very welcomed second location indeed. I had shot most of the scenes in Montreal, Canada during the winter months, so it was nice to be in a warmer climate, palm trees, and Windex-blue waters, it is not called the Cote D’Azur for nothing.

Looking over Villefranche in the French Riviera.

The weeks after France, I hopped on the plane again, and took off to be with Caroline in Singapore.  From there, we headed out to Palau in Micronesia, Cambodia, and Thailand. We mostly shot footage to help promote my work as a DOP focusing on travel, but we also got some video stock footage.  

Please click the link to Vimeo to see the slider in action during the trip in a fun short video. https://vimeo.com/100666597

 

An isolated island in Palau, Micronesia.

An isolated island in Palau, Micronesia.

Scoping out the scenery on a remote uninhabited island in Palau, Micronesia with slider over the shoulder.

We also went to the Philippines to see my father, whom I have not seen in 18 years, and had no contact with for at least 7 out of that. This side trip, however, allowed me to get footage, and develop a little promo video (Day at the Pool) for a local swim team that my dad trains and coaches.

Throughout my journey on planes, buses, Jeepneys, cabs, Tuk-tuks, tricycles, kayaks, speedboats, and on-foot, was the Rhino slider. It allowed us to capture incredibly stunning locations quickly because of its easy-to-set-up design. We felt like the folks over at Rhino read our minds, and implemented specifics tailored to us: light weight construction, weather robust, and design features that really matter; like built-in foldable legs and rubberized feet, which allowed us to finely adjust, position, and secure the slider between two columns in the Cambodian ruins.

The slider also has knobs to fine-tune the fluidity of the carriage slide, multiple ¼” and 3/8” treaded holes that allowed us to attach a mini tripod to get vertical and diagonal slides.

With numerous attachment points, the slider can be set-up in different angles using small tripods and against structures. Cambodia

And the no-brainer – carriage brakes – which locked-off the slider and kept our camera safe while still mounted, and finally, a treaded bolt to attach a fluid-head onto the slider. Our first slider did not include these in their design; instead, we had to buy them separately.

A young curious Cambodian boy looks curiously at the contraption.

Running the slider at Marina Bay Sands – Garden by the Bay, Singapore.

Also, being able to take the Rhino slider apart makes it efficient for packing and ideal to be in carry-ons. Weighing in at only 3.2 pounds, this slider is simply an awesome travel sidekick. It is also a cost effective slider ($425 USD) that does not skimp out on design, function, and built.

Rhino; the company; really thinks about it users. They offer replacement roller wheels, rubber feet, and roller assemblies should you ever break or lose them. Personally, we always take precautions not to have to replace anything, especially when we are working, or out in remote locations. However, you can always order them, and have them in your bag as spare parts, just in case. You can also purchase a pulley, and counter weight bag for the slider. It mounts on the end bracket, and on the carriage for smoother slide action.

Slider Carriage has tiny screw knobs to adjust the tension on the outer roller bearing wheels.

 

Note: Our slider came with the original roller assemblies which came loose, and fell a few times (you can order the upgrade for $5 USD – for both outer roller bearing wheels). However, The new sliders now come with the upgraded roller assemblies.

Hopefully, we have sparked some interest for you travel filmmakers out there. If so, go on, and head over to www.rhinocameragear.com

Happy filming and tread lightly.