WHAT IS SID?
For those of you who are fans of ballet, think of SID as a story ballet, like Swan Lake, except that it is a short film with original choreography made for the camera. If you enjoy films, think of SID as a throwback to the silent film era, when the physicality of the actors and the musical accompaniment carried the weight of the storytelling.
This is not
the first time that dance and science fiction have crossed paths. Ballet has a long history of dancing automatons, dating back to Coppelia, Nutcracker, and the Ballet Russes'
Petrouchka. Fritz Lang's Metropolis is one of the first science fiction films created and features an android, Maria, that dances a crowd of
men into a frenzy.
A DANCING ANDROID IS NOT SO FAR FETCHED
While many science fiction films foresee a time when humans are overrun by advanced artificially intelligent machines through warfare, SID reimagines this theme. What would happen if during the evolution of artificial intelligence, an android gained a creative impulse? How would human society react to a machine that is capable of creating art?
WHY MAKE A BALLET FILM?
This film is a rare opportunity to take world-class ballet dancers off the proscenium stage and onto the sound stage. If you've seen a recording of a ballet before, it was most likely a performance shot in a theater with a live audience. The coverage is limited to static shots from cameras positioned far away from the stage. By shooting on a sound stage, we can bring you much closer to the action. The camera is no longer a passive viewer of the dance, but almost a participant as it is free to move and capture the intimacy and bravura of the choreography within a few feet of the dancers.
AN ORIGINAL SCORE OF SHOSTAKOVICH AND PROKOFIEV
The music used in the pitch video was arranged and performed by SID's composer, Preben Antonsen. He has worked closely with the choreographer and arranged the works of Shostakovich and Prokofiev to satisfy the specific time requirements of each scene in the film. Preben will ultimately arrange an atmospheric and emotionally charged score for a seven piece acoustic ensemble that serves both as the basis for the choreography and an important story-telling device. He will also play and record musical passages on his analogue modular synthesizer to create SID's authentic sci-fi sound.
SID ISN'T JUST SCIENCE FICTION
Performing ballet companies provide art lovers with one of the great experiences the world has to offer. Dancers, choreographers, musicians, composers, designers, etc., rely on them for their artistic careers and livelihood. SID represents another important facet of evolution for the art of ballet. These same artists are looking to film for employment opportunities to do their work in a non-ephemeral way and for creative control. As a form of digital media, SID will reach far beyond the limited numbers of people a ballet performance at a theater can attract. SID's popular subject matter also allows it to vie for distribution beyond the typical dance related tracks.
THE REWARDS OF BECOMING A BACKER
Shooting an original ballet on a sound stage comes at quite a cost which is why we are asking for your help. Many of the artists and crew members are working well below their normal rate to make this film possible. We could not be making this film without them and we cannot bring this film to completion without you. Your support will go towards the construction of sets and costumes, rental of the 32TEN Studios sound stage, the camera crew and gear rental, arrangement and the recording of the score, payment for the dancers, and costs like production insurance.
As a thank you for being a part of this incredible opportunity for ballet film, we have assembled a collection of unique perks for your tax-deductible donation. For as little as $25, you get a digital copy of the film so you can enjoy the fruits of what you helped to create.
MEET THE CAST & CREW
Headshots by Sandy Lee and Danielle Short.
Publicity stills of Sarah Van Patten and Carlos Quenedit by David DeSilva.
Beat boards by Mark Simmons.
Costume and set design by Ben Pierce.