Release: 05.06.23
WHY NO ROOM?
The very first idea of this master project was to create an installation. It took a year, filled with countless research phases and many concept meetings, until we all concluded that the environment and its discourse in the media is a topic that occupies us all intensely. The fact that our society can no longer go on like this and that the increasing climate catastrophes are becoming constantly stronger, touched us all emotionally. We felt that the medium was no longer sufficient for our message, after a lot of brainstorming we decided on a social spot. The spot should be emotionally stirring and visually striking. The viewers should be encouraged to be more mindful about their environment and its effects. After intensive work, we are very proud to present our project “no Room”.
STATEMENTS
The proverb "Out of sight out of mind" describes the conscious as well as unconscious fading out of events, facts, circumstances etc... Although man knows that problems do not disappear when they are swept under the carpet, he does it anyway. As a result, even huge problems disappear under the metaphorical carpet, for which it is (actually) much too small. One of these problems is called climate change, climate crisis - or better - the problem with melting glaciers, flooded cities, parched landscapes and rising sea levels. The problem, which upsets the whole ecosystem of our earth and reduces or even destroys the habitats of earth inhabitants. A problem that affects all people without exception and does not expire or disappear out of the blue. The project “no Room” therefore wants to act as a reminder in the form of a social spot for this important issue by taking a critical look at the human way of dealing with problems. Especially about the handling of problems on social media. In a sense the adage „Out of sight out of mind“ has manifested itself digitally in algorithm-driven social media bubbles making it increasingly difficult for people to distinguish real from fake dangers.
The future of animals, plants, & humans depends on the well-being of our planet. The worse we treat the earth, the worse our quality of life will be. To keep this aspect constantly in mind and to actively work for it day by day is a difficult challenge, which usually fades after a few weeks and months - also for us students. It’s important for us to realize this project, because through the everyday life of our protagonist Martin we have the chance to pay more attention to the environment. We want to remind our fellow human beings as well as ourselves how important it is to deal with the earth in the right way. So, we are firmly convinced that every attempt to include the climate issue in public discourses increases the attention for the climate crisis and in the long run motivates people to tackle problems faster and more efficiently.
PRODUCTION
There were no real limits to creativity and imagination when writing the script, so there were some challenges for the whole team to solve.
One of the biggest challenges in the art department was to build a "boiling aquarium". Art Director (Michelle Pointinger) built a small prototype that was supposed to simulate boiling water with the help of a pump and air bubbles. Together with Sebastian Hoffmann and other team members, they managed to build a construction that brought the ent ire aquarium to a "boil". The process of setting up the aquarium like filling it, decorating it, lighting it, and connecting the "cooking device" had to be optimised so that work on the set could be done as time-efficiently as possible. The art department team prepared for the shoot with multiple runs of setting up and taking down the aquarium to avoid any potential problems in advance.
WIND
In contrast to the aquarium scene, it was not possible to try out the sequence for the wind scene in advance. In this case, it was necessary to be flexible and work with the conditions on location. To create a believable storm, the art department needed many helping hands and some material, such as leaves and plastic bags that could fly through the air. In addition, objects such as lamps and artworks were modified, which could then be knocked over to create an even more intense storm.
FIRE
While the construction of the aquarium was already underway, the next big question was whether and how fire could be incorporated in the spot. After several discussions, the decision was made that the fire should be shot outside as an SFX shot and enhanced with VFX in post-production. After a few thoughts and phone calls, the possibility of working with an SFX supervisor arose, now all that was missing was the owners' approval. Tense nerves and a few days later, we received the owners' consent to shoot the fire scenes. Even though there were a lot of hurdles, everyone made the project possible.
TEAM
CAST
Martin: Max Ortner
Voice Actor: Luke Jones
CONCEPT
Concept by Francesco S. Zecchin, Theresa Pochlatko, Michelle Pointinger, Markus Wilfinger, Patricia Neuhauser
CREW
Director, Idea: Francesco S. Zecchin
Co-Director: Lukas Ignaz Halder
Script, Storyboard Artist: Theresa Pochlatko
Director of Cinematography: Felix Pochlatko
Producer: Patricia Neuhauser, Tatjana Redl
1st AD: Benjamin Typplt
PA: Markus Wilfinger, Theresa Pochlatko, Christoph Amort
Camera Operator: Christoph Platzer
1st AC: Constanze Radak
2nd AC, DIT: Felix Foltas
Art Direction: Michelle Pointinger
Co-Art Direction: Jana Rowenski
Art Assistant: Paula Nikolussi, Katarina Nahtman, Natalie Dutzler, Christoph Amort, Nina Vasilchenko
Prop Maker: Sebastian Hoffmann
Costume: Lea Sophie Kurz
Gaffer: Dorian Frey
Light desk operator: Martina Poyer
Electricians: Oliver Rienzner, Felix Seitlinger
Grip: Felix Seitlinger
SFX Supervisor (fire), Pyrotechnician: Brandhofer-SFX - Tissi Brandhofer
SFX Supervisor (wind): Paula Nikolussi
SFX Assistant (wind): Christoph Amort
Continuity Supervisor: Jonas Perkmann
Hair and Make-up: Chiara Guscelli
Photographer: Lea Sophie Kurz, Katarina Nahtman
VFX Supervisor: Theresa Klotz, Philipp Dörrer
Compositor: Valentina Kuttner, Christoph Gstrein, Manuel Plach
Editor: Janika Hampel, Francesco S. Zecchin
Assistant Editor: Theresa Pochlatko
Grading: Maximilian Lange
Sound Supervisor, Music: Markus Wilfinger
Sound Design: Markus Wilfinger, Anna Wirth
Sound Editor: Franz Pichler
Foley Artist, Foley Editor: Anna Wirth
Production Sound Mixer, Boom-Operator, Voice Over Recordist: Markus Wilfinger
Instrument Recording: Timo Stadler, Markus Wilfinger
Re-Recording Mixer: Francesco S. Zecchin
Title- and Poster Design: Valentina Lancellotti
Motion Graphic Design: Theresa Pochlatko
Website: Sebastian Hemetsberger, Valentina Lancellotti
Production Company: Fachhochschule Salzburg, Filmakademie Wien
SPECIAL THANKS TO
Klima- und Energiestrategie SALZBURG 2050, VAM Verwertungsgesellschaft für audiovisuelle Medien, Kunsthilfe Salzburg, Klimabündnis Salzburg - Brigitte Drabeck, Epo-Film - Dieter Pochlatko, Jeanette Voltmann Pochlatko Rosenmaier, Brandhofer-SFX - Tissi Brandhofer, Christoph Platzer Photography, Recom Film - Manuel Hummer, CMA MediaInsuranceBroker GmbH - Christian Denzer , VANTAGE Weiden, KOBE LIGHT & GRIP, haus und hof - Magdalena und David Mahler, AREA - Katharina Schmid, Anton Amort freischaffender Künstler und Metallbildhauer, Sebastian Hoffmann, Aquarium Lamprecht - Tobias Lamprecht, Hofa Bäck, Mad Kitchen Team, Bäckerei Pföß, L’osteria Salzburg, Hofbräuhaus Traunstein, Helmut Vogtenhuber, Jakob Wimmer, Kevin Bailey, Julia Schwarzacher, Katja-Dor Helmer, Danny Krausz, Thomas Benesch, Christoph Czernin, Ewald Grabenbauer, David Haslinger, Oliver Kunz, Karin Macher, Filmakademie Wien, Till Fuhrmeister, Aikon Media & Technology - Martin Löcker, Michael Großauer, FH Salzburg
THANK YOU <3
Theresa Pochlatko
Felix Pochlatko
Patricia Neuhauser
Markus Wilfinger
Michelle Pointinger
Francesco S. Zecchin
Lukas Ignaz Halder
Theresa Pochlatko, Francesco S. Zecchin, Markus Wilfinger, Michelle Pointinger und Patricia Neuhauser
5020 Salzburg, Österreich
Fotocredits: Lea Sophie Kurz, Katarina Nahtman
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