© ATOM 2014 A STUDY GUIDE BY FIONA HALL http://www.metromagazine.com.au ISBN: 978-1-74295-447-9 http://www.theeducationshop.com.au 1: JANE CAMPION AND DIRECTOR OF PHOTOGRAPHY ADAM ARKAPAW ON SET Overview We jump to rehearsals at the fictional “Women’s “If you want to cover up, to Camp” in New Zealand, where Jane and her ac- be safe, then you don’t allow tors improvise to discover the characters and their relationships. “Inspiration is always a visitor to a the audience in.” relaxed space inside you, it comes when you’re - Jane Campion not trying.” We see Jane at work with her leading ladies, Holly Hunter and Elisabeth Moss. Across ‘From the Bottom of the Lake’ is an intimate the diverse landscapes of New Zealand we see the portrait of Jane Campion and her collaborators at intensities and challenges of the shooting of the work: a personal and insightful exploration of how show: an army of crew members, actors throwing the creative spirit can sing. The film shows how each other on tables, stunt men jumping off ropes artists can create an original vision and bring it into from trees. “I’m protecting the story, I’m protecting the world. the actors’ work...” The film begins in 2010, watching Jane at work Finally, in 2013 we ride in the car with Jane and during the development and writing of the crime- Gerard to the premier of “Top of the Lake” at mystery mini-series “Top of the Lake”. Sharing Sundance Film Festival. “People become directors this process is her long-time collaborator, sparring because they find strength and courage in the idea, partner, and co-writer Gerard Lee. “You create a to bring it into the world...” 2014 © ATOM SCREEN EDUCATION space where ideas just arrive”. Together Jane and Gerard nap, argue, get depressed and celebrate. This documentary, filmed by Jane’s assistant We see the struggle between plot and inspiration, and mentee Clare Young, has privileged access authenticity and cliché, deadlines and perfection. to one of the world’s most admired and critically “You’re always working to that bottom line, what acclaimed filmmakers. What unfolds is a surpris- can be fixed, what can be improved, what can be ing, inspiring, and often humorous insight into the moved.” creative process. 2 Curriculum Links ‘From the Bottom of the Lake’ could be studied in relation to the following subject areas: • Drama • Media Arts Drama: CLARE The documentary is recommended for use at Years YOUNG 9 – 10 and Senior Levels of Drama. ON SET In Years 9 and 10, students develop knowledge, understanding and skills about drama as an art form through improvisation, scripted drama, rehearsal Director’s Statement: and performance. They make and respond to drama “The creative process has been described as In a world of works independently, with their peers, teachers and elusive and mystifying. Inspiration reveals community. They manipulate the elements of drama itself in surprising ways, as glimpses on show-biz so and narrative structures to shape tension, dramatic the surface of our imagination. As a young full of fake action and convey text and subtext. filmmaker, my ambition was to understand how creativity worked, to take notes, to study, and formula, They perform drama works, developing relation- to really KNOW the process – how someone watching ships, status, physical and psychological aspects could create exceptional original drama, of roles/characters and refining expressive skills which had the capacity to deeply move its Jane and her in voice and movement for different forms, styles audience, told by characters we would fall in collaborators and audiences. They critically evaluate experiences love with. of drama making, performing and responding and at work, analyse how meaning is created through dramatic Writer/director Jane Campion asked me to action in different forms and styles. They criti- be her assistant on “Top of the Lake”, a six- stumbling cally respond to drama through the viewpoints of hour crime mystery story for television. In a and sailing meanings and interpretations, forms and elements, world of show-biz so full of fake and formula, societies and cultures and evaluations. watching Jane and her collaborators at work, along, in stumbling and sailing along, in their poetic their poetic ‘From the Bottom of the Lake’ would provide stu- unusual way, was inspiring and exciting. unusual way, dents with an excellent insight into the creative pro- Jane generously and at times reluctantly cess of writing, directing and acting with reference agreed that I could document the process: was inspiring to the above core concepts they cover in Drama. from the development and writing, through and exciting. pre-production and the shoot, and finally, Media Arts: back to Sydney where the process began. ‘From the Bottom of the Lake’ is a story for Clare Young The documentary is recommended for use at Years filmmakers and film-watchers to illuminate 9 – 10 and Senior Levels of Media Arts. the process of creation. It is a story for future generations of storytellers and artists who In Years 9 and 10, students make and respond to battle down that road to create meaningful media arts works independently, with their peers, and honest work that touches your heart. teachers and community. They analyse their own and other’s media artworks and consider how Creativity is unpredictable, bold, fragile, representations are created and challenged tough, and at times heart-achingly beautiful. HOLLY HUNTER (GJ) by media conventions, audiences and ‘From the Bottom of the Lake’ is an honest AND JACQUELINE JOE contexts. portrayal of an artistic process, its pains and (TUI MITCHAM) ON SET of course its delights. It is a triumphant ‘From the Bottom of the Lake’ tale of our capacity as humans to look provides students with an ex- 2014 © ATOM SCREEN EDUCATION to the bottom of the lake, deep into cellent insight into the creative our imaginations, to tell stories which process of writing, directing enchant us and haunt us – stories and acting with reference to which celebrate the ceremony of the above core concepts they innocence, our endless search for truth cover in Media Arts. and meaning in our lives.” - Clare Young. 3 1 3 - Major themes explored Pre-viewing - Critical reception/awards Activities Films to allocate to students: 1. Brainstorm what students know about writer • Short films - Peel (1982) and Passionless and director Jane Campion. In pairs, have stu- Moments (1984) dents complete a timeline of her major works. • Sweetie (1989) Valuable sites for research include: • An Angel at My Table (1990) • The Piano (1993) - http://www.nytimes.com/movies/person/83988/ 1: HOLLY ON SET • Portrait of a Lady (1996) Jane-Campion/biography DAY • Holy Smoke (1999) - http://www.imdb.com/name/nm0001005/ 2: JANE’S • In the Cut (2003) WRITING IN bio?ref_=nm_ov_bio_sm NOTEBOOK 3: JANE AND Have students present their posters to the class 2. Divide students into pairs/small groups. Allocate HOLLY ON SET and following the presentations, discuss any re- them one of Campion’s feature films and have 4: JANE ON THE curring themes, actors, writers and other continui- them complete a poster summary of the film, SHORELINE ties present in Campion’s work. including the following information: 3. As a class, read the following article about ‘Top - Plot synopsis of the Lake’: http://www.telegraph.co.uk/culture/ - Actors tvandradio/10105994/Jane-Campion-interview- - Writer(s) for-Top-of-the-Lake-The-world-is-focused-on- sexiness.html Have students answer the following questions: SCREEN EDUCATION © ATOM 2014 © ATOM SCREEN EDUCATION • What was it that drew Campion to writing and directing for television? • What are the main plot premises underlying ‘Top of the Lake’? • Explain the Latin phrase: ‘Et in Arcadia Ego’. Why does this concept so interest Campion? 4 4 1 2 1: JANE 1. Clare asks Jane how she manages the ‘pull and WATCHING tug between perfection and deadlines?’ Explain Viewing MONITOR Jane’s response. 2: JANE AND Activities GERARD LATE 2. Jane will be directing three of the six episodes; NIGHT WRITING Students to take notes on the following questions 3: CLARE describe the process Jane uses when storyboard- while viewing the documentary: INTERVIEWING ing. Why does she feel ‘insecure’ as a director? JANE & GERARD SECTION 1 – THE CREATIVE PROCESS 4: GERARD AND We move to January 2012, to the South Island JANE IN NOSS of New Zealand where rehearsals are about to MAYO The documentary begins in May 2010, with Jane commence. Campion and her actors improvise to Campion and her co-writer/collaborator Gerard Lee discover the characters and relationships. in Devon, England, where they are writing the pilot for a six hour crime mystery. 3. Explain how Campion views the rehearsal pro- cess and space. Refer to her definition of creativity 1. It is stated that Jane Campion ‘reluctantly’ agreed as ‘time, space and trust’. to let Clare Young document the creative process. Why do you think Campion is so reluctant? 4. We see the actors immersing themselves in their characters in several intense scenes. How do these 2. Lee and Campion have worked together on sev- scenes make you feel? Are you surprised by the eral productions spanning more than 20 years. What intensity? is your impression of their writing relationship? 5. Gerard Lee returns towards the end of the 3. How does Campion describe her style of writ- shoot. How does he explain his feelings of pride in ing in terms of time taken to allow the ‘ideas’ to relation to Campion’s career and personality? emerge? Are you surprised by this? SECTION 3 – SUNDANCE FILM FESTIVAL 4.