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galloping mind

drama by Wim Vandekeybus

SAVAGEFILM 2 Square Sans-Souci 1050 Brussels, Belgium Contact: Bart Van Langendonck +32 476 551153 bart@savagefilm.be www.savagefilm.be

Writer and Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Wim Vandekeybus Producer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Bart Van Langendonck Duration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90’ Language . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . English Format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 mm Budget . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . approx. 3 Million E Main shooting location . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . South-Africa (tbc) Shooting schedule . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . End 2011 Selected for Cinemart 2009 (IFFR, Rotterdam) & No Borders (Independent Film Week, NYC) coproduction markets. In collaboration with Ultima Vez, Belgium. With the support of the Media Development Program of the E.U. and Flanders Audiovisual Fund (VAF). Pitch In a city crammed in between desert and ocean, a kids gang on ponies is making daily life unsafe. A man, his wife, his mistress and her two twin kids - seemingly not connected - cross paths at different moments in their lifes, ultimately discovering a common history, impossible love and surreal freedom. 

savagefilm savage PRODUCTIONS bvba


galloping mind

drama by Wim Vandekeybus SYNOPSIS Sam, who owns a dog store, lives together with Sara, who is a head nurse, in a coastal city at the edge of a desert. One day, Sam has a onenight stand with Lula, who gets pregnant with twins but she doesn‘t tell Sam. Sara finds out about Sam‘s infidelity and seeks her revenge. When Lula gives birth in the hospital where Sara works, Sara steals one of the babies and hides it at her mother’s house. In another part of the city, a lifeboat runs aground with 40 little children aboard, aged 4 to 8. The children start a new life in the city, living on the streets. They sleep under the main bridge, and make a living by raiding the city taking orders from Silvano. Two Years Later On the main bridge that divides uptown and downtown, Sam and Sara, whose childless relationship is on the rocks, are having a row. Lula, a single young woman, approaches Sam and tells him that he is the father of her 2 year old son, Pancho. In the confusion that follows Silvano, who is the leader of a gang of street kids, steals Lula‘s purse and dives into the water. Lula runs after him. Pancho follows his mother and into the path of a passing car. Sam saves Pancho from being hit by the car and is knocked unconscious. In the process Pancho falls off the bridge and into the water. Lula runs after him, stumbles and falls into the water herself. She is knocked unconscious by the fall and drowns. Silvano saves Pancho from drowning and adopts him into his gang. Sam, distraught at hearing about Lula’s death, remembers the affair they had. Sam and Sara break up and all contact between them is severed. When Sara‘s mother dies, Sara takes the stolen girl, Racha, into her care. Eight Years Later Pancho grows up a thief. The relationship between Sara and Racha is not going well, and when they cross the bridge arguing, Pancho steals Racha‘s bag. Racha is impressed by the little hoodlum. The street gang performs a daring robbery of a truck. Pancho is almost killed, but Silvano saves him again. To avoid the police, the gang moves their camp to the beach. A ship carrying a cargo of ponies crashes near the beach and the gang of children rescue the animals. From then on they terrorize the city on horseback. When the pony gang robs Sam‘s dog store, father (Sam) and son (Pancho) get into a fight unaware of their blood ties. During the raid, Jon, Pancho‘s best friend, dies.

One day, Racha meets Pancho again. She remembers him as the hoodlum who stole her bag and she succeeds in impressing him. She joins the gang. Pancho and Racha, twin brother and sister without knowing it, now become best friends. But Silvano wants Racha for himself. Pancho and Silvano race their horses for the right to Racha. Silvano wins. A jealous Pancho tips off the police about Racha who has been reported as a missing person. She is returned to Sara. The gang breaks into Sara‘s house to get Racha back, and during the raid Sara recognizes Pancho as Racha‘s twin brother. The gang succeeds in kidnapping Racha but Pancho, still resentful of Silvano, sets a trap for him in Sara’s house. Before the police arrive, Sara makes a deal with Silvano to keep Pancho and Racha apart. In exchange she does not turn him in to the police. Pancho and Racha are swimming under the bridge when Silvano shows up. As he and Pancho fight, Silvano accidentally injures Racha and he runs away. Sam, who happened to be on the bridge, takes Pancho and the mortally wounded Racha to the hospital where Sara still works. Sara panics and sends Pancho away. Racha needs an urgent blood transfusion but she has a very rare blood type. Although Sara knows that Sam can save Racha, her shame keeps her from telling him that Racha is his daughter. Sam leaves the hospital. An urgent call for blood donors goes out on the radio. The whole city is mobilized, but in vain. Pancho has gone looking for Silvano and the two fight to the death. When Silvano is about to lose he tells Pancho that he has a father and he can bring Pancho to him. Eventually, Sara‘s guilt wins out over her shame and she drives over to Sam‘s dog store. When she finds the shop empty, she leaves him a note. Suddenly she is attacked and bitten in the throat by one of the guarddogs. She drags herself to her car and tries to make it to the hospital but she gives up halfway. Over the radio she hears that the call for blood donors has been called off. Racha is dead. When Sam comes home he finds the note and at the same time hears the news about Racha on the radio. Pancho watches Sam come home. Racha appears as a vision to Sam; and convinces him to leave the city. They steal a car and drive into the desert. Out of the blue, a pony gallops next to the car. Pancho is riding it. Racha climbs out of the window onto the pony and Pancho climbs into the car. The pony with Racha on it and the car with Sam and Pancho in it, move away from one another.

savagefilm savage PRODUCTIONS bvba


galloping mind

drama by Wim Vandekeybus director’s statement GALLOPING MIND is a film about greed, passion, unattainable love, and loss. About parents and children, about growing up, about coincidence and fate and about the impossibility of living peacefully together. In short: about life. All the characters in GALLOPING MIND live next to each other, they never make real contact, but in our story passionate human acts will challenge their destinies. The film is like a network between three adults and two children. I want to show the innocence of the children in its purest form by letting them live like grown-ups. Their existence is tough but adventurous. The adults in GALLOPING MIND, on the other hand, are merely fragile creatures, searching and erring through the city’s streets. Structure GALLOPING MIND is a classic story following the lifes of the main characters who cross paths at different moments in their lifes. They change each other’s future because of their common past. I use a non-chronological storyline with four time jumps, starting with the birth of a twin baby and ending when they are young adolescents. A parallel story shows how orphan kids arrive from the ocean and organize themselves in the city as a gang. A radio presenter is heard, spreading words and music over the city.

car crashes and the fights), the animals, and the danger to lock yourself in by creating too many obstacles for yourself, only to, eventually, end up all alone. An important narrative element in the film is the point of view of Pancho. When he is in emotional distress, his viewpoint changes into an animation. Pancho has never learned how to read or write but he can draw very well. It’s as if he suddenly draws himself into the film in order to better deal with reality. The tone of the film is humanistic, yet the confrontations and accidents make it exciting. Deep down everyone is obsessed with survival and in order to protect oneself people will do anything: fight, hide, lie, steal, kill … The dialogues are direct, fast yet sensitive, beyond the cliché of street language but never explicative or moralistic. The visual approach will be in function of the characters and their changing emotional states. Although the film is dynamic we cannot feel the camera. We can continuously feel the Latin spirit in the photography. There will be no difference in the image quality of the time jumps. The animations, as a vision of Pancho, will appear gradually. They are childlike drawings in black and white with sometimes a color that will link it to the reality in the film.

The story develops with accidental or occasional meetings where the characters don’t know eachother or do not realize that they are somehow related. The audience knows more but not all. At the start of the film an accident occurs: it is the clue scene in which almost all the characters meet. The accident destroys and seperates lifes. The water plays an important element in the story: the ocean brings the kids’ gang to a new existence; the water under the bridge is the playground for adventure and surprises, but also stands for danger and death. The film is really about danger. The physical danger on the one hand: life on the water (the children in the rescue boat), in the city (the

savagefilm savage PRODUCTIONS bvba


galloping mind

drama by Wim Vandekeybus director’s biography Brussels based Wim Vandekeybus (born 1963) is film director, choreographer, actor, photographer and dancer. After working for two years with Jan Fabre, he created his own working structure in 1987, Ultima Vez, a company of a dozen young artists and actors, and several artistic, technical and administrative collaborators. His first performance, What the Body Does Not Remember, was soon being shown on international stages, and was awarded the Bessie Award in New York for best dance production, referred to by the NY Times as “a revolution in dance”. Since then he staged almost 20 performances that toured all around the world, with musical collaborators such as David Byrne, Marc Ribot, David E. Edwards (16HP & Woven Hand) and Peter Vermeersch. Vandekeybus started his film career in 1990 by first co-directing, later directing adaptations of his own stage performances, specially reworked for the screen (La Mentira, Blush, Roseland, La Mentira, a.o.), and short films which – although originally made for use in his choreographies – soon earned him prizes at film festivals worldwide. His two last mid-lenght films, Blush (theatrically released in Belgium and France)and Here After, have pathed the way for his first feature film GALLOPING MIND. In 2007 a triple dvd box compiling over 7 hours of his film work, was released internationally. filmography 2008 The Do ‘At Last’ (music video) The Black Box Revelation ‘Set your head on fire’ (music video) 2007 Here After (dance/fiction film) 2006 Bête noir (film images & animation) Dust (short film) Nightshade (film images) 2005 Blush (dance film) 2002 In Spite of Wishing and Wanting (dance video) 2001 De Standaard (commercial) Silver (dance video) 2000 “Inasmuch…” (short fiction film) 1999 The Last Words (short fiction film) 1997 Body, Body on the wall… (short dance film) 1996 Bereft of a Blissful Union (short fiction film) 1994 Mountains Made of Barking (short fiction film) 1993 Elba and Federico (short fiction film) 1992 La Mentira (dance video) 1990 Roseland (dance video)

producer’s profile savage film Savage Film was founded late 2006 by producer Bart Van Langendonck and operates from Brussels, in an association with Eyeworks Film & TV Drama. Savage Film produces fiction, documentary and dance films with an edge, with subjects as versatile (fiction, politics, social issues, art, …) as its directors’ backgrounds. After a career in music management and programming, Bart Van Langendonck was general manager of choreographer/film director Wim Vandekeybus’ internationally renowned dance company ‘Ultima Vez’. He produced several documentaries and fiction projects for the film production company CCCP between 2002 and 2006. In November 2006 he launched SAVAGE FILM, presently producing feature films of Wim Vandekeybus (Galloping Mind), Michaël R. Roskam (The Fields), Fleur Boonman (Portable Life) and Frank Theys (The Will to Virtuality), the documentaries ‘Pale Peko Bantu II’ (Bram Van Paesschen), Walking Back To Happiness (Pascal Poissonnier), No Comment (Pascal Poissonnier), In Search of Zhou Ping Yi’ (Jeroen Van der Stock), and the dance film Rain (Anne Teresa De Keersmaeker). selected filmography bart van langendonck 2008 Lost in Transition doc. by Thom Vander Beken Wild Beast doc. by Jeroen Van der Stock Nowhere Man feature film by Patrice Toye (ass.producer) Today is Friday short film by Michaël R. Roskam 2007 Here After dance/fiction film by Wim Vandekeybus. (ass.producer) 2006 Gas Station doc. series directed by Luc Vrijdaghs Blush fict./dance film by Wim Vandekeybus 2005 Maria Dolores feature film/video by Wayn Traub Carlo short film by Michaël R. Roskam Fighting for others, dying for Poland historical doc. by Bart Verstockt 2009 Walking Back to Happiness doc. by Pascal Poissonnier Crossover music/dance film by Pierre Coulibeuf (coproducer)

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