Photo by Matylda Kawka
Two cover options for Volume Two. One is based on Life magazine (as is Volume One) and with the other I'm toying with the idea of using Popular Science Magazine as my inspiration. This would mean that each volume's cover could be based on a different magazine. More fun for me, perhaps a little confusing to the reader.
Below the following spreads I placed an image that shows something of the production process it took to get there:
The darkroom is the most recently added miniature. It's situated in a triangular space under the staircase in the kitchen and serves as Lars' real, functioning darkroom but also as his hideout when things in the family get too intense.
In this scene, Petro (the father figure, played by Tom Regan) negotiates for a back-scratch in return for some of his precious, home made beer. His daughter, Pachouli, played by Stephanie De Latour, agrees reluctantly. In the pic below, it's Lelo Lourenzo behind the 2nd camera and Kimberly Boldrini shot this image.
This home-repair tutorial is supposed to tell the story of how Hunter installed the new, white french doors in the front of the house. I captured stills from various Youtube how-to videos and changed the skin tone of the hands. The house is the miniature with some 1960s house segments collaged from a design magazine.
The mother figure, Nanna, played by Christine Osterman is a riot of female survival instincts mixed with a mid-century housewife ideal. In the spread above she unveils after prolonged onion chopping to answer Petro's love-call.
Making a shopping list for an analphabetic by cutting and pasting product images from magazines. In this scene, Nanna dictates to Lars what to put on the list, which will then be given to Hunter for when he goes to the mainland to "shop". Lars hands are actually Rachel Hahn's, who interned on the project and did some body-double work for Lars' character.
After Petro accidentally broke lars' photo frame, Pachouli finds it and attempts to return it to Lars. One thing I noticed after years of editing the images, is that the eye gets tired of seeing the room background in every single image on a page, particularly if it is in focus. Cutting out the background helps to focus the eye and move the action along.
R.I.P ZOOLA...And last, I finally have the courage to speak about the loss of Zoola, our beloved super-smart, spicy dog, who died almost 2 years ago in a freak accident. Zoola got herself a part in Isness by crashing one of our early shoots and nailing it with every move. (Our other dog, Ziggy, not so much...) Later during shoots, she would place herself at the epicenter of the action and give us a 100% authentic post-apocalyptic dog behavior. Zoola appears in many scenes and represents the raw survival instincts of an animal in symbiosis with humans.
With Stephanie DeLatour and Alexandra Ceribelli
And that does it for now. This winter is dedicated to going back and forth between editing Isness Volume Two and editing my short film, Execution. Who would have guessed that a photo novel would take so much longer to make, than a film?