Day in the Life of a Film Extra: Martin Scorsese's Mermaid

Before my days of fashion photography I was signed to a number of 'supporting artiste' film extra agencies. I have been on the set of adverts, TV series in addition to big budget films such as Robin Hood and Xmen; each an entirely different, unique experience to the next. I've been painted a luminous shade of orange as a Zodangian civilian in 'John Carter of Mars', choreographed to learn 1920s dance steps for a period drama and doubled for Marion Cottilard in a Miss Dior advert.

My most memorable experience on a film set was Martin Scorsese's Hugo. The scene was inspired by John Méliès, a real life french filmmaker leading many developments in the early years of cinema. His vision was experimental, often using special effects including multiple exposures, time-lapse photography and hand painted colour work to depict narrative scenes. A still from Méliès most recognised film 'A Trip to the Moon' is below. 

My role was to be transformed into a 19th century mermaid, the scene inspired by Méliès 'Kingdom of the Fairies'. In the lead up to filming I attended 3 costume fittings (two of which were at one of the largest costumiers in London, Angels) and one rehearsal on set. The set itself was breathtaking, a greenhouse like structure at Shepperton studios, designed to mimic the Parisian studio where filming would have taken place in the early 1900s. 

You can see me below on the right in the film stills. 

Poseidon sleeping whilst we play a comparably non 19th century game of Uno in wellys and hair nets...

Film production is an unbelievably complex medium, with one 20-30 second clip for example often taking a full day to film. The team involved to make it possible and the attention to detail in continuity, set building, hair & makeup, costume etc is phenomenal.

Although witnessing film production first hand is a bit of an anticlimax when it comes to eventually watching it at the cinema, my involvement has opened my mind to the limitless opportunities of creating visually stimulating images- a valuable experience which continues to inspire me today. 

Alice Luker
www.aliceluker.co.uk

Psychology, Science and Art: Part 2

Minds are constantly 'evolving'; in a flux as new knowledge is processed and chemical/ emotional reactions follow. I feel in a privileged position as I believe that I have always had a strong connection with my concious mind as it has developed through the years.

I'm intrigued by psychology & science and it's connection within the arts. I'm both a product of society and a rebel of my own terms, conciously (yet in many ways unconciously) seeking ways to project my perspective through the form of art.

I remember a moment in school at 13 years old with my friend during lunch. We were discussing reality of life and philosophy, whether there could be a possibility that we were living in a simulacrum (not that I knew what the word meant at the time!), more simply described as living in 'The Truman Show'.  From an early age we were were often discussing philosophy as a theory to challenge and debate our existence.

As radical as it may sound, I believe that individuals either have a real interest in the complexities of philosophy within world or don't, often dependent on education. All opinions that we have are mere theories and contradictions but contradictions are challenges, stimulating our minds, inspiring art. 

There is a fascinating interconnection between reality and fantasy. Reality is a mindset. We cannot single handedly modify the inevitable that we are born into a world pre determining the majority of who/ what we are but what we can educate and stimulate our mindset. 

Experiences are what makes us as individuals who we are; positive or negative, our mind is in control of determining fulfilment and healthy reality of self. There is too much pressure in this world of conventional, pop culture 'reality'- when it comes down to it, confidence and individuality is key.

Alice Luker
www.aliceluker.co.uk

Dreams: Metaphor for the Making of Art?

With no surprise, my entire train journey from Ascot (my home town) to London tends to be very much phone related- either tweeting, emailing or texting...I usually end up depleting over a quarter of my Iphone battery in this time alone with many hours ahead to fuel.

With 10 minutes to spare before reaching Waterloo, I read a tweet from the National Gallery regarding a lunchtime talk focusing on dreams and visions in art. This talk acted as an introduction and taster of what is to come when a new exhibition opens this week in association with 'Seduced by Art'. For more information on this exhibition please click here.

 

Not only do I love art and painting on both a personal and professional level; the subject matter of this talk strongly related to the very reason why I began this blog. Art and photography attain the power to be as ambiguous yet as symbolically rich as desired- linking into this fantasy, dreamlike realm which can be so apparent in visual imagery- especially fashion.

In addition to confirming and expanding the knowledge I already have in this subject; I also learnt about Baroque art and the divine powers associated with the dream state which was fascinating. Before we reached the era of scientific evidence supporting dream studies (Sigmund Freud, REM sleep etc), dreams were looked upon as privileged, glorified messages; most often relating to messages from God.

Although this was all very interesting art history, what really inspired me and appeared so relevant to my position as a fashion photographer is the concept of dreams themselves. Dreams attempt to explain the surreal, yet at the same time are designed to be interpreted in a subjective manner; similar to the dream itself. They also leave us with the big question, what really is reality?

Contemporary fashion photography could arguably be more about hyper real fantasy than dreams; determined through both the content within the frame and the ever increasing techniques of post production. I personally believe that one of the key attributes and foundation of conveying a sense of a dream, vision or fantasy relates to the 'space of otherness' - something which can never fully be in reality, often appearing to be a fully conceptual construction.

On this note, I will leave you with a beautiful image by Tim Walker; unquestionably inspired by his personal depictions of the dream realm, inspired by childlike fantasy and unconventional conceptual visions. Having visited an exhibition at Somerset house focusing on Tim Walker's work, this quote seemed particularly fitting:

'The editorial spreads of a modern fashion magazine allow the photographer to construct fictive worlds, which unfold, page after page, like series of stills from unrealised films'.