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Update #22: Being a TV extra, MONKEY (2021) and Stage Lighting shows.

Hello. Update 22. Here. Right before your eyes. Fuck.


A lot of stuff in this update, but not on a lot of things. I've been away on set for one of the weeks and the other lighting a show. I'm starting up the driving lessons again, and between that and working the time I have is limited, with hopes that I can get out to some more galleries and places for photos opportunities this week, as I feel on the creating front I've been falling short. On the other hand, it has been eventful in other aspects, such as the first time a piece I was part of was exhibited, the first time being on set as a TV extra, and the first time lighting a play independently.

MONKEY (2021)

Created by Fraser Chapman, and myself, we looked into the confines of human creativity through a textual format and perspective on the scale of infinity through the Infinite Monkey Theorem.

As I mentioned in the last update, we had the fantastic opportunity to exhibit our experimental version of our work 'MONKEY' (2021) at New-Func's 'New Ways of READING' Event.

Fraser Chapman, Samuel Collinge
MONKEY (2021)

"Live Art consisting of randomly selected characters and spaces.

Taking inspiration from the 'infinite Monkey Theorem', This piece, given an infinite amount of time will have completed every past, present and future written work in the English language, raising the questions of human limitation through reading and curating in a textual format.

What limitations does the text have for us as readers? Whilst what does finely crafted literature transform the stage in our mind? Playing with the ideas of the theme 'new ways of READING',

We invite the voyeur to read between lines and digest the non-visible information, and creative intent interweaved beyond the text itself.

We are developing ways to immortalize this project by making it durationally infinite, creating permanence. With the intention for this project to complete every possible work to be and ever be, it will transcend into an Omni-textual work. Whether this be online, streamed for further viewing, or left with a sustainable supply to completed offline are all things considered for future developments."

Unfortunately, neither of us were able to make it to the exhibition but looking at the report:

"People appreciated your piece very much and thought it worked well as a continuing archive. Many commented that while they knew the infinite monkey theorem well, actually seeing it made them contemplate the infinitesimally small chance that even 50 words could be strung together and this led us to consider branching parallel universes and the littleness of now."

This suggests that it was a good turnout for the piece, I hope in time I will have the luxury to share and perform and collaborate more with New-Func collectively.

If you want to see any of the other incredible, wild and wonderful work from the event, you check it out here.

Being a TV extra.

There's not much I can talk about this as it is shrouded in secrecy when it comes to the project/film/tv show, but from my first experience, I can tell you a few things.

For example, I was coming into this blind, I got myself an Airbnb in the area and was quite lucky in regards to the location, it being a few minutes walk away from the base for the SA's (Supporting Acts). There, you would get or show your costume and have photos taken of you for reference after you got your hair, makeup and costume completed.

For the most part, it is waiting around. I have to consider myself lucky or at least in terms of expectations I wasn't expecting to meet such a variety of wonderful people, from all over the country with different stories and even more varied characters to all of them, it was a pleasure meeting working and chatting with all of them.

Got fed too, and not any of that cold sausage roll style buffet food, like a proper meal, which caught by total shock and was pretty surprised how much effort was in catering and making sure all actors off set waiting were treated well.

When it came to filming, it was very professional, and although sometimes a little nerve-wracking knowing for example lacing directly into the camera by accident can cost a whole take (not to mention how precise the boom mics can pick up sounds, such as shoes on hardwood floors.)

To keep it concise, it was amazing through and through, some of the waiting was a bit tedious but that's nothing to complain about at all.

Very much hoping in the future there are more opportunities to do SA work in film/TV.

Stage Lighting Shows

This week, I lit 3 shows. All of which were performances of Jim Cartwright's 'Two'.

Unfortunately, the lighting board we had could not save memories due to technical issues and the faders only worked between 8-10 as 0%-100% on the light intensity, a major issue, but a really fun challenge.

The LX sheet I produced alongside the annotated script gave me further insight into when the next cue was, and in more detail and which lights were needed for it, this I found to be an absolute lifesaver and a great addition to all future lighting I will do in the future.

For development, however, speaking to the person mentoring, they wished I created a more fun and visually entertaining preset for the intervals and before and aftershow lights, I would agree and say that he is right, but playing it safe and ensuring a basic yet high-quality lighting job was the priority for me given the technical issues and my own confidence using a lighting board after a long time. Overall, it was a great performance by Mark Rosenthal and Kate Davies and Verity Mann as Director.

Squid Game 7/10

The hype was I'd say fair and equal to the content. For the first time in a while, I fully completed a series in under a month which to me speaks in how enjoyable the show is. Focusing on a new subplot fuelling the long plot interwoven and dotting through the show made it good and concise to watch one episode not fearing too much on remembering the last one. It also provided a fresh and interesting take on television we usually watch, exploring the more colourful and 'wacky' sort of media in which was enjoyable to watch. The English dubbed over voice acting was a little of an interesting choice when it came to casting, but it wasn't enough of an issue to be distracting or take away from the actor's performance.

Venom 6/10

No real introduction build-up to the plot, but it was a great film just for choreographed action and just an all-out, action-packed romp with some comedic moments, whether they be hits or misses for you is a personal preference. My mate described to me before watching that it was 'a loud film' and that was very correct. Good film and entertaining, and massive kudos just for not going for the usual 'end of the whole world' symptom which most Marvel films have currently, the smaller act of the danger made it feel more personal to an extent. 6/10

That'll do for this week, till next time


- S (17/10/21)

Kornelija is you're reading this, happy now?

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