a blog per requests! - CLOWNS & HORSES

I asked what people would like to hear about more on the blog and I got "Clowns" and "Horses" as answers, so here is a blog on stories about both from our Europe circus filming adventures.

The main clown of our filming, of course, was Rob Torres, who competed in Monte Carlo, and next year will be with the Big Apple Circus. We met Rob in Essen at the Roncalli dinner theater, where he always called it a successful night when he could cause someone to run to the bathroom as they tried not to pee their pants.
When we asked Rob to define his clown character he responded, "Define the character?…. The character is humanity."
We spent a day in Germany with Rob and followed him as he met up with old friends he knew from performing in Canada. The two friends worked in a workshop space (an old barn on a farm) on a new act. The day was full of non-stop gags full of puns and jokes.... laying eggs, fart machines, fake dog poop...basically, lesson learned, clowns are clowns outside the ring as well.

Another clown we interviewed was Caroline Simonds, aka Dr. Girafe. I wanted to interview her because it's a different side of clowning and interaction with the "general world". She basically started Clown Care in hospitals in France after working with the Big Apple Clown Care unit in New York. She is now the Artistic Director of Le Rire Médecin centered in Paris, France. But before all this, she fought the idea of becoming a clown, she wanted to be "serious", but for some reason it just kept coming back.
A quote from an article on Caroline:
"The clown for me is my medium. It is a ‘Here and now’ state of being - it is not a ‘yesterday or tomorrow’ one. I will never give up the clowning. It is my true form of expression, my art.”


THE HORSE PART!
In Monte Carlo, we tried to interview as many performers as possible. We were fascinated by the story of the horse act from Kyrgystan -Eshimbekov Troupe, who ended up winning a Silver Clown. Pulling Abdynaly, one of the leaders, aside for a moment we heard of the troupe's years and years of dreams to come compete in Monte Carlo. Abdynaly spent most of the festival limping around on a hurt foot, and had also suffered a major shoulder injury during one of the rehearsals. He said a shot from the hospital would keep him in the ring during performances and after hours a bottle of vodka. We had not seen their act yet, as we were always back stage, but one day near the end of our time in Monaco, we had a chance to sit in the audience and our jaws dropped during their act. With high speed galloping horses performers were dragged behind, flipped on and off, crawled under the bellies, and pyramids were created on the horses. Abdynaly was the bottom man on a tower of people jumping on and off galloping horses as they raced around the ring. We had never imagined his shoulder would have to take so much pounding in a horse act and were awed by the appearance of perfect health after what we had seen backstage. After each show we watched the horses and riders cool off, both human and animal's sides heaving to catch their breath and sweat dripping.

MONTREAL & CIRQUE DU SOLEIL TRIP

I (Angela - Director / Producer) spent one night and two over 20hour days in Montreal Canada. This two day reminder of what life was like on the road filming in Europe made me ask, how did we survive two months of no sleep, few meals, and non stop activity? I really don't know, but damn is it fun!

The trip to Montreal was for two purposes, to follow up with the Russian Bar act we followed at the Monte Carlo Festival and to present to and meet with the World Circus Federation. The Federation has be absolutely crucial with helping to gain access for filming and it was wonderful to meet many familiar faces I had met and interviewed while in Europe.

You can see what the Federation is all about by visiting their WEBSITE.

We followed the Alegria Russian Bar Cirque du Soleil act closely at the Monte Carlo Circus Festival in January, but was not able to visit them before the competition like we did the other four acts we followed. I decided to make the trip to Montreal to follow up with the troupe with the understanding of the importance of Cirque du Soleil's place in the world of circus. You can't have a film without them, plus this is quite an extraordinary act. And I have to mention, I didn't to want waste my months and months of emails with many different people and departments at Cirque in order to get permission to film this act.

We also interviewed Carmen Ruest, Director of Creation at Cirque du Soleil, who has been with the company since the start!

If you haven't watched the "Meet the Acts" video where you can see the Russian Bar Troupe in action, do so!
WATCH the VIDEO "MEET THE ACTS"
It is a jaw dropping and breathtaking act lead by Aleksander Dobrynin, who developed Russian Bar in 1977. Two of his sons are flyers in the act. Nikita is the 15 year-old son who was literally born into the act. Alegria has been an over 15 year running show, which this troupe has been traveling and performing with from the beginning. At the age of seven Nikita began performing. Now, although he loves the travel of circus and the calming feel of flying, he says he want to go into computer engineering. Talk about a change in life style!
Tamir, known as the biggest in the troupe is a porter (who holds one side of the bar, which catches the flyer). He is originally from a circus family in Mongolia and has been with the Troupe from the beginning. Tamir admitted in his interview that he holds life and death in his hands everyday as Nikita flies above him needing to land back on the skinny bar he holds, but he smiles and says the smiles, applause, entertainment and wonder he gives the audience makes up for this.
We met the troupe for interviews in the rehearsal tent behind the big top for the new show TOTEM (A great technologically advanced and costume spectacular show). We got a backstage tour and then later were able to see the show. You would think maybe after 2 months of circus I would have seen what could be seen, but circus NEVER stops amazing you. One act with two roller skaters, began with moves which reminded me of figure skating. The guy would skate in a tight circle while lifting the woman into the air as she flew out vertically. And then you realize they are on a TINY circular podium of sorts, not in a huge ice rink, and unlike in figure skating where they do one maybe two circulations, these two fly around maybe 30 times in a row! Some acts I'm not even sure how to describe and their origins can be lead back to such explanations as Aleksander's to how he invented Russian Bar, "I decided I wanted to do something weird, something different than just a trampoline act."

I hope the film can capture both the reality of the the behind the scenes life as well as the magic and art center ring.

CHAPITEAU.DE 1st ARTICLE, the English version!

The online circus magazine Chapiteau.de in Germany is publishing a series of articles on the film. They translate it to German, so here is the English version.

Check it out on the site....IT LOOKS GREAT ON THEIR SITE WITH PHOTOS!
http://www.chapiteau.de/hintermzelt/2010/wcc/1/wcc1.htm

Introducing “World Circus Culture,” A Feature Documentary
By Jessica Stewart
Photos by Ian Issitt

With over one hundred hours of filmed footage, the feature documentary, “World Circus Culture”, will reveal the realities of circus life on an international scale. Four acts, including Troupe Yakubov, the strap act from Kazakhstan, The Duss Family Sea Lions, Martin Lacey Jr., the lion act, and Rob Torres, the American clown, were interviewed and followed as each prepared for and competed at the 34th Annual International Monte Carlo Circus Festival. A fifth act, Barre Russe, performed and represented Cirque du Soleil for the first time at the festival, and will be filmed in more depth this May in Montreal. Filmmaker Angela Snow and Cinematographer Ian Issitt filmed and experienced firsthand the splendid personalities of these acts and awe-inspiring spectacles of circus culture, history, and artistic expression.
Rehearsing through grueling last minute sword choreography and strap acrobatic training in Gelsenkirchen, Troupe Yakubov proves that language is no barrier in circus. Several Chinese-speaking performers had recently joined this Russian-speaking act from Kazakhstan, making communication seemingly difficult. With strong leaders determined to train the new members, the troupe’s sincere respect and trust for one another proves to be what holds this flying act together. When asked how the group communicates their response was simply, “It’s circus.”







Communicating in six different languages is the Duss Family Sea Lions, who performed at Circus Ahoy in Rotterdam prior to the Monte Carlo festival. With Roland’s humor and Petra’s tenacity, these trainers care about their four sea lions like parents, as their lifestyle is like that of any family. Eating together, causing mischief, laughing, and experiencing frustration is a typical occurrence, whether it is Tino spraying Roland with water or Charlie jumping out of the pool racing to the ring to perform.

Always ready for the spotlight, Martin Lacey Jr. creates a spectacle wherever he travels, with his sixteen lions, cages, trailers and police escort. With an explosive act, including a man resembling Elvis standing upon a disco ball, and “twelve plus one” lions, (considering any mention of thirteen is unlucky), Martin takes lion taming to a remarkable level of precision and theatrics. Beyond the performance, Martin states this is his life and not just his job, as he has even taken a sleeping bag into his largest male lion, King Tonga’s cage.
Circus wouldn’t be complete without a clown to resurrect our childlike nature and cause audience members in Essen to laugh so intensely they near wet themselves. Despite performing as a lone figure competing against the spectacle of Martin Lacey Jr., Rob Torres does not let that stand in the way of his dream to compete in Monte Carlo, as laughs can be heard far outside the venues he visits. Rob allows all of us to temporarily step outside of ourselves and enter into a world of absurd fun.

The Barre Russe Cirque du Soleil act presented a new variation on Russian Bar, led by Aleksander Dobrynin who developed it in 1977. Cirque’s innovative performance involves three bars and two or three flyers flipping through the air, often as many as 12 times in a row, each time landing back on the bar held by porters. Incredibly complex, yet appearing effortless, this act pushes the boundaries of classical circus.

These acts had high hopes of winning the esteemed Golden Clown award. Rehearsals, personal reflections, preparing equipment, and getting pictures taken were all a part of the suspense leading to the main event. Despite such high stakes, this did not prevent the display of existing friendships like that of Martin Lacey Jr. and Roland of the Duss Family Sea Lions. Upon seeing Roland, Martin embraced him as he joked of feeding the sea lions to his lions. However, once these acts enter the ring the competition begins, all friendships are set aside, and the fight for the gold begins. With five phenomenal performances, three of which won an award for their excellence, the Golden Clown was finally announced and presented to the fearless Martin Lacey Jr. who continues to stun audiences with his dramatic spectacles.

For more information, visit www.TotheMoonProductions.com/worldcircus.

the FILMING SIDE

Most my posts are a lot about circus, which of course isn't a problem, but I thought I would write a little note just about the filmmaking side of things. Hopefully this will give you a glimpse into the process.

The process of Pre-Production / Producing the film started well over two years ago, well actually, it was developed back in 2006. I'll keep this short, but the logistics and permissions were not easy to come by. Mainly just lots of people involved that all have to get their bosses bosses to say OK. Around Christmas 2008, I made contact with the World Circus Federation, through a circus friend. It took over a year, but with their help we secured all permissions needed, and Christmas 2009 we were sitting in a trailer on a circus backlit in Holland listening to sea lions bark.

• A MONTH BEFORE WE LEFT I got permission from the Festival, I knew it was a go - or almost. I literally bought Ian and my ticket to Europe without having permission from all the acts or even knowing where they were in Europe, I just had to trust and know IT WAS HAPPENING.
• Each step is really 20. Tracking down the acts was not easy, they're performing all over the world, and some don't even speak English. Just a week before we left things were falling through, the circuses where acts were performing didn't want filming on their property. Then, in a five-minute period just before we left, I got permission from the circuses and from Cirque du Soleil (a five tier and many month processes for permission). PHEW, best five minutes ever!
• ALWAYS ROOM FOR MORE. I decided an important, even crucial, filming component was making stops at circus schools, historical societies, fan clubs, etc. All of a sudden London and Italy were added to the map and there was no longer a fear of too much down time, now I had no idea how we would get from Paris to Italy in half a day in order to allow enough time to film.
  

Tape stock, hard drives, extra batteries, sound equipment, borrowing of lights from good people, printing stacks of release forms and contracts and throwing in a few clothes, we crossed our fingers we didn’t miss anything

• Two sunrises and two sunsets got me from LA, stopping in Chicago to meet Ian, landing in Paris, and driving through Belgium into Germany on the hunt for a our first hotel and a much needed night of sleep.
• DAYS OFF. Ian and I joked (in that, “Oh, this isn’t a joke but we have to deal with it” way) our only days off were spent driving 7 hours, always getting lost, always arriving to a dark to unknown cities with signs in another language with no fancy GPS phones to lead us to our next home - our next hotel.
• Our #1 rule (actually rule #0) was always bring the camera - you never know what there will be to film, I’ve learned that the hard way. Ian always had his camera on his shoulder running around, with what I can only assume was an ever growing right arm muscle, and I had my camera plus a large bag full of binders of paperwork and notes and maps, plus extra tapes, batteries, food, water....
• We were on our feet all day, in all conditions, and Ian's boots did not pass the test, luckily he did. He went through about five bottles of supper glue and at one point the entire sole of his boot became a flap that could be bent back entirely. Oh supper glue, how good you are.
• what you are filming and are YOU allowed? is the question asked if you have a professional camera. This is especially hard when you're in a foreign country. In Monte Carlo, we discovered Monaco is privately owned and EXTREMELY well policed, meaning hard to film.
• OUR SCHEDULE was we usually got up around 8am, or earlier, and our days were non-stop, often forgetting lunch (bring power bars!) ending past midnight. We ended collapsed on beds and then sessions of answering my piles of emails that had come in during the day. OFFICE HOURS 12AM-3AM. Also, each night we had to transfer footage to the computer, often we barely had time for the transfer, we had to wake back up for more filming. 3 hours isn’t enough!
• Producing and scheduling and booking hotels and interviews didn't stop when I left the states, I still had many holes to fill and people to follow up with. Ian always said he felt best after an interview, he felt accomplished and that all my emails had paid off. It was true and good to have that nagging optimism next to me
• We got to Monte Carlo exactly half way into our travels. Once there, I had to constantly pinch myself as a reminder that "this was it" this was what everyone was waiting for. The greatest feeling was standing outside the tent doors as people in costumes ran in and out in the adrenalin rush right before a show. I could see flashes of Ian backstage, behind the curtain, running around after our performers, capturing moments that I could hardly imagine and that I knew I would eventually get to see along with the rest of the world.
• We shot over 100 hours of footage.
  

QUOTES as EDITING BEGINS

-->Let the editing begin! We still have some filming to do in Canada & the United States, but editing has begun. (Don't forget funds are still needed to complete the film! You can help & DONATE!)

In Los Angeles, I am compiling notes and transcribing all the main interviews we conducted while filming in Europe. I thought I would pull some of my favorite quotes from the interviews to share. We did many, MANY interviews, but here are quotes from the ones I have transcribed to date. More to come!

ENJOY! Spread the word. Support the film.

TIM ROBERTS - Director at Circus Space in London & President of the European Federation of Professional Circus Schools (FEDEC)

“I was just reading something about people’s pre-occupation with falling and how it’s one of people’s greatest fears. In circus arts, we’ve turned falling into an art form….and it’s still speaking about something quite important of the human condition.”

“France recognizes a circus performer as an artist in society, as an actual profession. Where as, in English speaking countries I think it’s hard for them to accept that an artist is actually a job. How many times is an artist asked, “This must be really fun, what do you do for a living?” Well, we all accept the fact that movie actors do that for a living ….and if they didn’t do that it would be a very sad world indeed.”

“I think symbolically circus marginalized itself by setting itself in fields, outside of towns… I think if you’re not there in front of people’s noses, you’re just there for a week and you’re gone, just mud and holes left, then you say, why would a government recognize it as an art form if no one can actually put their finger on it.”

MARTIN LACEY JR. – Lion Act, England / Germany

“To do it properly, it’s a lot of hard work, because basically what you see in the show is about 10 minutes and outside it’s all day. You have to be there for the animals and to take care of them; they’re like family. It’s not a job, it’s a way of life.”

“I’ve learned a lot with the experience of the animals, and also with having young animals in the number, before I had all professional lions and now I have semi professional and professional. So, I have to really help them, I have to be there for them and give them confidence to do the act properly.”

“I’m not scared of the lions, I respect them, I know what they can do. I know they’re a perfect killing machine, I know they can break an antelope’s neck with one blow of their paw. So, I know I don’t have a chance with the lions, so I don’t really think like that when I walk into the cage.”

ROB TORRES – Clown, United States

“I’m going to do a whole lot of nothing and try to generate as much out of that as far as laughter and silliness goes…And just have fun, and forget what position or status we have and anything else that is going on in our lives outside that particular circus and that show.”

“For the most part in the US the term clown…it’s derogatory, if I’m a clown, then I work for birthday parties, doing this… It’s an easy job for people that have nothing else in America and its something that takes work and it is an art form here in Europe.”

"The first step is you’re willing to recognize that you think differently than I do, and you're willing to get over those things. Then, find a way to enjoy life together. We have these borders that we’ve created with countries, and the idea that it’s not possible to work together, and circus proves, no, it is possible."

THE RETURN & THE RULES

We have returned to the U. S. of A. Culture shock is always worse on the return…plus recuperating, wrapping up production, and missing the Circus days. Back to reality? No thanks!

I really couldn’t have asked for a better trip. We ended our trip in Paris and attended the World Festival of the Circus of Tomorrow (FESTIVAL MONDIAL DU CIRQUE DE DEMAIN). Quite a different festival than Monte Carlo – the Sundance of the circus world – a younger crowd and less traditional. Great to run into many of the faces we had seen on our travels, really made me realize how deep into the circus world we had manage to dive in just two months. It was also great to experience the festival & Paris with my inspiration for this project, my Auntie Karen Gersch.

This is my dream project, my biggest project, and some how I really think we've captured this world. I really think it will open many eyes.

I will leave you with some of Ian and my notes from our travels. These rules stuck with us the whole trip and were often referenced along the way.

THE RULES

FOR FILMING & TRAVELING EUROPE

#0. Always bring the camera. Always.

#1. Never turn when you want to (when driving).
Instinct is the best way to live your life, EXCEPT when you're lost on the road in a foreign country. Just wait, because impulse does not translate.

#2. It always works out.
In a bind? No matter where you are, what language you speak, or how bad it seems, there will be a solution to land in your lap.

#3. Ausfahrt. A driving tip.

Ausfahrting is serious business. Ausfahrt only when you really need to. Don’t Ausfahrt too early, it can be really embarrassing, so if you accidentally Ausfahrt, it is polite to apologize and turn around. But if you intend to Ausfahrt, do, 'cause if you miss your chance there may not be another for miles.

#4. Zentrum

No matter where you are in a German town, there are endless "Zentrum" signs. They're EVERYWHERE. Should you follow them? That is up to you. Do you seek the Zentrum? If so, keep faith, NEVER stray, and follow them at every turn. If you do NOT seek the Zentrum, avoid at all cost!!

#5. Always look around the corner.

Do you really want to eat at Pepe’s Mexican food? Do you really think that ugly parking structure is nothing? Well you better go find out, ‘cause chances are everything you ever wanted is just around that corner. Looking for socks, Gluhwein, a Weihnachtsmarkt, new shoes, a grocery store or the best mac and cheese ever? It’s all there.

#6. Left Left Left Left Left Left
A rule for driving in England.

#7. Third time's the charm.
In Paris 3 tries should be expected to get on the right road.

#8. Angela is always right.

Muahaha. Fine, while this rule is obviously true, and was used as a quick reference # in arguments, in reality without Ian to prove wrong and challenge my stupid ideas & moods, this film and these travels would be nothing. :o)

AND THE WINNERS ARE

The awards were announced at a private dinner with the Prince and Princess of Monaco where sequined dresses and champagne were abundant. Ian and I were invited to attend and we were lucky enough to be able to film. The formal awards are presented at the Gala show in the tent the next night, but the dinner party is where performers hear the results for the first time and the reactions were PRICELESS!

3 of our 5 acts WON BIG, including the GOLDEN CLOWN. Two silvers and one gold. Pretty amazing.







Now it's off to Paris for 3 days of interviews and to see the Festival Mondial du Cirque de Demain. Then "home" on Feb. 1st, where it will be back to reality, editing, and whatever the future holds.

ALSO -
lots of NEW PHOTOS on facebook (click link)
and NEW VIDEO (click link)
Enjoy & pass along!

THE COMPETITION

PHEW. What a day for everyone. After 16 hours on our feet, 6 tapes, two 32 GB cards, and all our camera batteries the first show / competition of the 34th Monte Carlo Festival was over. It seems like a massive amount of footage - well it is - but we have to remember we were following five different acts, five different stories. And two of the acts have troups of over 10 members. We need more cameras, more people, more feet and shoulders to replace our hurting ones, but I think we did it. Then we got home and had to transfer all the footage to storage so we can erase and start over again tomorrow. I love when my phone tells me "alarm will go off in 3hrs".

The next night -tonight - Friday -we were able to watch the show, because "program B" (there are 2 programs) doesn't have all of our acts in it. Quite an amazing show, about 3 acts got standing ovations and the crowed stood and clapped for almost 5min after the 4 1/2 hour show was over.

I also witnessed this event today as Ian and I stood by the lion cages chatting with Rob Torres, the American clown, he was in his street clothes-
A teenager with his mother walked up and interrupted "Mr. Torres, I just wanted to say hi and meet you, can I take your picture?" The boy was from Finland and was in town with his family for the Festival.

OUR ALL ACCESS PASS

We've made it to THE event - what its all about. Can't get much more circus than this and some how we've landed in the middle of it, doors wide open to our cameras.

The permanent circus tent of the Monte Carlo Circus Festival sits in a park, castle to one side, sea in front, and cliffs behind.

It is just wonderful to show up and see all the friends we've made on our tour of Europe this past month - and Day One of Festival filming was exactly a month into this adventure. Crazy to think back to Day One in Germany.

We watched the clowns file out today for a photo opp with the Princess of Monaco. About 15 cameras flashed away as the sea lions smiled and the 4 clowns posed. Quite an event and it hasn't even started.

OFF TO MONTE CARLO

Got some great interviews in Verona -


The Verona circus documentation center. So many old books and posters!
http://www.articircensi.org/index1.htm#





Interview with the President of the Circus Friends Association (Club Amici Del Circo) and member of the Commission at Ministery of Culture for Circusses.
http://www.amicidelcirco.net/






Filmed and interviewed at the Verona circus school. A boarding school for circus family kids ages 10-16. A very cool stop!
http://www.circo.it/



We'll make the 4 1/2 hour drive to our apartment just outside of Monaco, which we will gladly call home for 2 1/2 weeks. Tomorrow we will meet Martin Lacey Jr. (Lion act) on the road with his trailers and 17 lions.