Posted on November 27, 2013
While shooting a print campaign for China Vogue, Chris Craymer enlisted Picture Farm to produce and edit this film accompaniment. Edited by Todd Stewart and Isabel Freeman, featuring original music by Guilliaume Gesquiere.
Posted on November 25, 2013
Picture Farm’s Janne Harlem and Todd Stewart edited this gorgeous heritage film for Coach’s Borough Bag. With music by Guillaume Gesquiere.
Posted on November 20, 2013
Picture Farm director, James Medcraft, recently shot this beautiful and thoughtful music video commissioned for Chris James’ ‘The Force (Song for Dylan)’. Adapted from the poem ‘The Force That through the Green Fuse Drives the Flower’ by Dylan Thomas.
The film, shot in slow motion and one continuos take, takes the viewer on a hypnotic yet simple journey where words become the performer. Reflecting the notion of wisdom in hindsight, the past is always in focus of a blurred present time.
Posted on November 19, 2013
Posted on November 12, 2013
The second installment of our No Sitting Allowed series took us to Kansas City. Produced, Directed and Edited by Picture Farm in collaboration with Major League Soccer and Especial.
Posted on November 6, 2013
Picture Farm travelled to Vermont, braving a snow storm, to produce this beautiful Winter Wonderland film for Fresh. Directed by John Moessner.
Posted on November 5, 2013
Posted on October 31, 2013
This is the 3rd installment of our Rosewood Hotel Group Discovery films that took us all the way to Beijing. Directed by Anders Overgaard. Produced and edited by Picture Farm for Agency Sacks.
Posted on October 25, 2013
Major League Soccer and Especial asked Picture Farm to help them with ways to tell the stories of their rabid fan base. Todd and Chris pitched an idea that we hoped would live somewhere in the realm of art house documentary. MLS bought the treatment and we are happily in the middle of the project, putting the finishing touches on both Kansas City and the New York Red Bulls. The first film, about Toronto FC, just arrived. You can watch the full nine minute film on the MLS You Tube Channel (click here.)
Here are some teasers.
Posted on October 24, 2013
Being mildly attached to the “surf scene” has its perks. There are the expected ones along the lines of fun surfy projects rounding the bend every now and then, and then the unexpected ones, like having a severely talented editor referred to you by a fellow (surf) filmmaker. Isabel has been editing our Major League Soccer films for the last couple months, fitting in a few edits for Vogue along the way. The MLS job isn’t simple. They’re a sort of weird hybrid of sportscast/documentary/art film but somehow Isabel seemed to get it right off the bat, her natural sensibilities taking over. Coming fresh off editing Ava Warbrick’s feature documentary “Stephanie In The Water“, she’s also put out a first full length album with her band Household.
Isabel: You hitting me up?
PF: Where’d you grow up?
Isabel: Upper West Side.
Isabel: 86th street…
Isabel: Then 111th street…
Isabel: Then somewhere else on 111th street. That’s it.
PF: Um, how’d you… um ah ah, how’d you get into editing?
Isabel: I studied photography in college…
PF: You studied a lot of things in college.
Isabel: A lot of the arts, visual arts. But I really liked photo editing.
PF: Like picking other people’s photos, or picking your own?
Isabel: Both… but I meant my own. I didn’t edit other people’s photos without them asking.
PF: Right. Did your friends um, did your friends like know that about you and ask you to edit their stuff back then?
PF: So you like the photo editing, so you just thought, “oh well I like editing photos so I’ll like editing video.”
Isabel: Yeah. Well I took one video class, Final Cut, then after college I started… I made a short after college.
PF: What was the short about?
Isabel: Well it was a friend’s project that he ended up, ah, dumping…
PF: Uh huh.
Isabel: So I took it over and edited something from it.
PF: Oh really?
Isabel: Mmmhmmm, that’s the first thing I did.
PF: And then what’d you do after that?
Isabel: Um… I wrote a short after that…maybe five years later I wrote a short and Jessie and Ben shot it and I edited that. That’s the second thing I did.
PF: And that whole time you were working as a kindergarten teacher… or preschool teacher…
PF: Daycare! A daycare… I guess you’d call it a teacher…
Isabel: Yeah. Yeah, yeah.
PF: Did you have to get any special certification for that or could you just do it?
Isabel: Just fingerprints.
PF: So that whole time, that whole time you were kind of like making your way toward making more films, you were working in daycare.
Isabel: Yep. For four years.
PF: Is doing daycare a lot like editing?
Isabel: It’s… the exact opposite of editing.
Isabel: Now I work with adults.
Isabel: Well, sometimes.
PF: Sort of.
PF: Um. You work with Mikey DeTemple on surf film stuff and you just finished another surf film, well, a documentary, it’s not really a surf film, it’s a documentary about Stephanie Gilmore and where is that going next?
Isabel: Hopefully the Picture Farm Film Fest.
Isabel: It just showed at the Hamptons Film Festival, and we’re working to get it on a DVD next.
PF: And you just came out with an album.
Isabel: That too.
PF: What’s the name of your band?
PF: And uh, what, what position do you play?
Isabel: I play bass. Center bass.
PF: And how many albums have you guys put out?
Isabel: One LP two years ago and an EP… now.
PF: When did you start playing music?
Isabel: In fourth or fifth grade.
Isabel: I took sax lessons and then right away switched to the bass.
PF: Why did you switch to the bass right away?
Isabel: Less embarrassing.
PF: Oh really?
Isabel: Well, two of us in my class started taking sax lessons, then we both… well, he started playing drums and I started playing bass and we started a band.
PF: What was the name of that band?
Isabel: Mmmm… The Last Bees.
PF: The Last what?
Isabel: L a s p e e s.
PF: The Laspees. What was…
Isabel: Don’t ask
PF: Don’t ask?
Isabel: It means nothing…
PF: Sure it doesn’t.
PF: Um, so were you playing stand up bass at school or were you playing the uh, uh …
Isabel: The electric bass…
PF: The electric bass. Wow.
Isabel: yeah I was too short for the stand up bass.
PF: Oh. I played stand up bass.
PF: Yeah, you can’t be too short, you could sit on a stool! I sat on a stool! I was no taller than you are now.
Isabel: A tall stool yeah.
PF: Um.. huh…huh..yeah.
PF: So you just came out with an album…Household…
Isabel: And actually the guy who plays drums on this album is the same guy who played sax, who took sax lessons…
PF: From the Aspees, the Laspees…
Isabel: Yep, right…
PF: And his name is…
Isabel: Nick Millhiser.
PF: And the other guy Ben, you also grew up with Ben.
Isabel: He was the third person in that band.
PF: Ben, the guy who shot your first film?
Isabel: Ben, Nick and me…
PF: And who also did the sound capture and some of the shooting on the Stephanie Gilmore film?
Isabel: Exactly right.
PF: Jeez Louise, you keep them close.
Isabel: Tight knit. (knits fingers together)
Posted on October 24, 2013
People tend to fly Picture Farm director Christopher Anderson all over the world just for the chance to ask him a few questions. He always seems to be jetting off somewhere, usually to shoot something, but often enough to speak to other photographers and budding artists about his unique vision. Sao Paulo based photo outfit Forum caught Chris on tape recently. Check out snippets of the interview by clicking the photo.
Posted on October 22, 2013
Today we were lucky enough to have our neighborhood composer hanging around, sitting on our couch, drinking our tap water and composing music on the his laptop for a short, lyrical film we’re editing for Coach. Guillaume has composed gorgeous music for us on a number of occasions, namely on Cadillac, H&M and for Vogue China, and we’ve always found his particular brand of music making particularly suited to his demeanor.
PF: Where’d you grow up?
PF: In what arrindosemon… ar-ri-dons-mon… where…?
Guillaume: Which one… what?
PF: What part of Paris?
Guillaume: Ohhhh, in the east.
PF: In the east part of Paris? Is there a number associated…
Guillaume: The 12th.
PF: Ah ha. When did you start playing music?
Guillaume: Oh, I start after my bachelors. When I was 18.
PF: Did you play much music before that? Were you always into music?
Guillaume: No I started to learn the jazz piano, first with a private teacher, then after, with a school.
PF: At 18?
Guillaume: Yes. And after 21, I stopped playing jazz piano because it took so long to learn, and then I found techno and I discovered electronic music in the nineties.
PF: (laughing, making drum and bass sounds)
Guillaume: Yeah, so I listened to the jazz music, but I started listening to electronic music and I thought it was amazing so yeah… so I bought some stuff like a synthesizer and some turn tables… and started composing for electronic music.
PF: And so…
Guillaume: And so it was also easier, and nobody really wanted to buy jazz music, there were very few listeners so…
PF: But now, as far as I can tell, you lean far more classical.
PF: When did that start? How did that happen?
Guillaume: Classical is very recent. I listened to a lot of classical growing up. My parents, my French culture, it’s about classical music. I really love the French classical contemporary musicians and also the Romantic , the French School, and the Post Romantic, and I started to compose classical style when I started at Juilliard two years ago.
PF: And you came to New York to go to Juilliard?
PF: So you got accepted to Juilliard while in Paris and moved to New York to come to school.
Guillaume: Exactly. You see there is also a very good music school in Paris, but they don’t take you if you are more than 26 years old.
PF: And you are more than 26 years old.
Guillaume: Ha ha, exactly, yes
PF: Not much…
Guillaume: Not much…
PF: Who are your favorite composers? Who inspires you?
Guillaume: Mainly Arvo Part et John Tavener, Edward Elgar et Gustav Malher, Rachmaninoff, um, I love the French School so this is all the Ravel, Debussy, um, Faure, Saint-Saens, Ropartz, Messiaen and Schmitt and this is for the classical part. And I also listen to a lot of soundtracks. My favorite is Oward Shaw…
PF: (quizzical look)
Guillaume: Oward Shaw.
PF: Howard Shaw.
PF: Ah ha.
Guillaume: He composed the Lord of the Rings trilogy. All the films about the rings. And also Alberto Iglesias, Max Richter, Patrick Doyle, Danny Elfman, Alexandre Desplat, Philip Glass, Nyman, Zimmer, Nino Rota, Herrmann, Bernard Herrmann, um…
PF: How would you describe your music?
Guillaume: Oh, emotional. And very sensitive, and very… my main problem… each time I go to compose some music I like to hear something very sensitive and very emotional. This is my weakness and also my strong suit. It’s very hard for me to compose something like Vladimir Cosma…
PF: So wait, what happened to your fingers?
Guillaume: I was, ah, normally Tuesday I go to the gym to take parkour class, you know, like jumping and running and tumbling… I like to do those things, and I found a gym place near my house and they had open night for parkour, see my daughter also does gymnastics, so I decided to give it a go, and I went to jump on the vault and after I tried to take the rings and I fell down. And I broke three fingers.
PF: You broke them?
Guillaume: No, it’s not really broke it’s more the tendons…
PF: Ah ah, yeah. So um, that’s not very good for your music.
Guillaume: No, I can’t play piano now and at Juilliard I have to sing because I have to sing because I have four courses and one of them I have to play and sing at the same time and it’s like clang clang…
PF: tack tack tack tack…
Guillaume: And it lasts for six months.
PF: Six months!
Guillaume: No, sorry, six weeks.
PF: Oh that’s a little better. Oh well.
Guillaume: And I stopped the parkour.
Posted on October 22, 2013
In February 2014, Picture Farm will be holding it’s inaugural film festival. Click here for details on how to submit your film.
Posted on October 21, 2013
The Mayakoba installment of our films for Rosewood Hotel Group and Agency Sacks. Produced by Picture Farm, directed by Anders Overgaard and Edited by PF’s Rodrigo Balseca. Shot on location in Mayakoba, Mexico.
Posted on October 17, 2013
We’re starting a new series here on PF Dailies called “Meet Your Farmer.” Today we catch up with Jessi, our bookkeeper, fresh from a trip to Tanzania where she worked at an orphanage for a month. We caught her keeping books and listening to some wild 60s Mexican rock ‘roll mix she made on Spotify and sporting some of the hand made jewelry she crafts in her non-bookkeeping time.
PF: So where you from?
PF: Atlanta, Georgia. So how long you’ve been living in New York?
Jessi: Since ’99.
PF: How did you get into…
Jessi: Um, I kinda did stuff like that at MTV.
PF: What were you doing at MTV?
Jessi: I worked in integrated marketing, but I was mainly an executive assistant and then I became a bookkeeper originally by title because my friend Tara has an art boutique down the street, she needed someone to do her books for her and so I helped her open her store.
PF: What store?
Jessi: It’s called the Cotton Candy Machine. It’s on south first and Roebling. It’s just like this big art… thing. They have art shows, a lot of stuff from Juxtapoz.
PF: Do you like being a bookkeeper?
Jessi: Do I like it?
PF: Mmm Hmm.
Jessi: Sometimes. Most of the time.
PF: What would you say you like about it?
Jessi: Ummmm… I like…. I think um… it kinda makes sense. Especially when I need to reconcile the books and there’s some discrepancy and we don’t know where it is and it’s always there when you take the time to find it, it’s like you’re a detective in a way.
PF: Like forensics.
Jessi: Yeah. And there are times when, like at the store where there were a lot of cash and credit transactions, there were times when I’d have to leave it and come back, and there’d be times when I’d wake up in the middle of the night and think “Oh shit! That’s where it is!” and the next day I’d go in and find it. That’s what I like.
PF: How would you describe your musical tastes?
Jessi: Heh heh, my musical tastes?
PF: Uh huh.
Jessi: Varied. It depends on my mood.
PF: What are you listening to the most right now?
Jessi: Uh, well… my go to is always kinda… metal. I always go back to metal. Those are really the only bands that I listen to that are now… you know what I mean, that are new…
Jessi: That are more current, thank you. Most everything else is from … some 80s but mostly 60s on. A little older.
PF: How’d you get into metal? Were you always into metal or did you have a kind of progression, did you start out in teen bop music or anything like that?
Jessi: I kinda was always into it. When I was young, my uncle is only three years older than me, so he used to make me sit there and listen to Motley Crue and, you know, really bad hair metal. But really in the past fifteen years I’ve gotten more into it and I always end up dating some guy in some band and…
PF: Always dating the drummer!!??
Jessi: Oh yeah, there are the drums and the bass. Either drummers or bassists. My last boyfriend, I really liked his music, he was probably the only boyfriend I’d say I was like, “Oh man that sucks, I don’t have to go to your shows anymore” but I kinda wish I could still. I still could, you know, we’re still friends but…
PF: What was the last show you went to?
Jessi: The last show? Hmmm. I dunno ummm… Maybe the Melvins.
Jessi: A few months ago. I mean I’ve been to other shows, but that was the biggest lately, and they’re friends so I got to go backstage and get free drinks and since I was saving up for my trip, I could actually enjoy myself without spending so much money.
PF: What was the best show you’ve ever been to?
Jessi: Oh, the Damned. They’re my favorite band live. They’ve never disappointed. El Vez is pretty fun. Have you seen El Vez? He’s like the Mexican Elvis. He’s fun.