Kara is a journey I started a few years ago, knowing it would be a long one. After quietly working on writing and re-writing the script, finishing the concept teaser and a long sabbatical due to private family matters, we’re now taking the next step! It will still be a while before we can share
When I started writing Kara, I had imagined one day I would sit in Emek Sinemasi and watch the film that has this cinema and the surrounding Cercle d’Orient building at its heart. A film that remembers the days I spent in this building above the cinema, watching films through the tiny window of its
The Yesilcam Street set lives from the incredible attention our set builders gave to its many – many! – details. And they never grew tired of being asked to avoid right angles and exact parallels – without getting wobbly or amorphous shapes.
Now that everything is “done” (which of course still is not…), we finally get around to putting together more pictures from the set-building process. Our most complex set – both in building and shooting – is the set of Yesilcam Street, Kara´s street. This street is based on a real location – except for the
“A lonely bus travels on an inter-city highway under a crescent moon.” How much work can such an innocent sounding sentence from the script create, you might ask. Well, here is the answer: a round-up of the 2.5 weeks of shoot on the ‘landscape’ set. (And this is excluding the set and prop building…which we
We’re afraid Berlin just lost its status as the biggest Turkish community outside of Turkey: Istanbul arrived in Hamburg today! Straight from the workshop. Paint having just dried.
The set building process: First, there was an inspirational. Then (and those photos I spare you) I started to do a small plastillin blocking and drew rough groundplans of the buildings visible in the inspirational. Then Eugen Kelle started blocking in 3-D until we had a set big enough for the camera move and sent