Our producer Arash T. Riahi gave an interview about Sierra Zulu and crowdfunding to Austrian magazine “The Gap”. (Click to enlarge.)
Another day at the United Nations Offices in Vienna. The Austrian Foreign Affairs Ministry invited members of the European Protocol Service, the UN Strategic Command Center for Central Europe, the United States Air Forces and a regional politician from Lower Austria to talk about the future of Soviet Unter-WHAT?!
Want to learn to know our film team?
Well… have a look! Here is the entire list of our heroes of work!
How did we do it?
Here are all blog posts about the production of Earthmoving!
It’s time indeed.
Saturday, February 4, 2012, 5 PM at Raum D, Q21, Museumsquartier Vienna.
Last Friday we declared picture lock.
Our sound sorcerers Sebastien Bedard and Maxime Voinson (of Audiozone in Montreal, Canada) finished audio design and mastering over the weekend.
And Stefanie Gratzer (of Golden Girls) is currently working in the dark dungeons of color grading.
That means that Sierra Zulu’s prequel Earthmoving will be finished tomorrow evening.
On its most fundamental level, film editing is the art, technique, and practice of assembling shots into a coherent whole. It is usually performed in dark, smelly places.
Director Johannes Grenzfurthner and editor Tom De Roeck can tell you how dark and how smelly.
(Above: Tom De Cutter)
Some images for your enjoyment — taken by our wonderful set photographer Magdalena Fischer. More pictures can be found on Sierra Zulu’s Flickr page.
Revolutions are the camera dollies of history.
December 13, 2011 marked the production team’s first visit to the United Nations building in Vienna. It will be the shooting location for Sierra Zulu’s prequel “Earthmoving.”
Director Johannes Grenzfurthner stated: “I did nothing more than many others; I did my duty as member of the team.”
(More images on our Flickr page.)
My name (and it is indeed a very Austrian one) is Johannes Grenzfurthner. I’m part of art-tech-philosophy group monochrom and I’m the director and co-screenwriter of “Sierra Zulu.” We are developing this feature-length film together with multi-award winning production company Golden Girls Filmproduktion — and I can’t tell you how excited we are about this project.
I was always interested in strange and obscure concepts, even as a kid. I loved science fact (Carl Sagan is still my only media idol) and science fiction, especially John Brunner and William Gibson. And I was always interested in the political dimension of near-future sci-fi. It’s hard to imagine, but I became a punk and antifascist because I devoured cyberpunk novels and watched shows like Max Headroom.
monochrom was officially founded in the early 1990s. The project started as a print fanzine about cyber-topics, politics, bizarre art and covert culture. There was some stuff going on in the US of A — like Mondo2000 — but it was all too hippieish, too liberalish, indulging in what Richard Barbrook and Andy Cameron later called the “Californian Ideology.” monochrom wanted to share and propagate a reflective leftist European perspective in relationship to socio-technological change. We published a couple of issues, low circulation, and — as the name suggests — we were barely able to finance the black and white xeroxes. But we kept working, created our first internet site in early 1994, and shortly afterwards we decided that we didn’t want to constrain ourselves to just one media format. We knew that we wanted to create statements, create viral information, spread thoughts, and do it in an entertaining way — in the form of sugar-coated info-bullets. Some messages definitely work better as a computer game or art installation or puppet theatre or robot or performance, some should better be presented as ASCII files… and some are the right stuff for a feature film. And that’s where we are right now.
Creating a film is an exciting, yet dangerous task. But we decided to take the risk. The story we want to tell is our approach to the political struggles of postwar, post-industrial Europe. We’re looking at the cracks in the foundation of knowledge society and transnational cognitive capitalism in a playful, grotesque and amusing way.
Get involved! Onward!