marc chesterman soundtracks:

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Florian Habicht
MAU
Charles Koroneho
Min Tanaka
Merenia Gray
Dave Letch/2nd Unit
Margaret-Mary Hollins/Macbeth
Zia Mandviwalla/Eating Sausage
Jonathon Hendry/Marat Sade
Animalia
Julie Nolan/The Land of Make Believe
ATC/Doubt
Massive/100 Cousins
ATC/The Ocean Star
Carla Martell/Blue Smoke
Gaylene Preston/Lovely RITA



Florian Habicht-Film
dreams of killer ray
woodenhead
kaikohe demolition
Liebestraume

Kaikohe Demolition [Documentary]
Directed/Produced by Florian Habicht
Distributed by Pictures For Anna & Magna Pacific
2004/53mins.
Festivals: NZ & Melbourne International Film Festivals 2004, Sydney and San Francisco Documentary Festivals 2005. Non festival screenings in Berlin, Tokyo, Brazil.
NZ Screen Awards Best Digital Feature 2005 Winner
See Pictures For Anna site.
DVD available.

Sound Design/Composition


Woodenhead [Digital Feature]
Directed/Produced by Florian Habicht
Distributed by Pictures For Anna & Magna Pacific
2003/90mins.
Festivals: NZ & Melbourne International Film Festivals, Sitges Festival [Spain], Commonwealth Film Festival [Manchester], Fantosport Festival [Portugal], Cardiff Festival [Wales],Titanic Budapest Film Fest. [Hungary] & Calgary. Market screenings in L.A and Cannes 2004.
NZ Screen Awards Best Digital Feature 2004 Nominee
See Woodenhead site.
DVD available.

US distribution thru Olive Films.

Sound Design/Composition

 

MAU-Dance Theatre
paradise
boneflute
paradise
requiem
 

Direction and choreography Lemi Ponifasio.
Lighting by Helen Todd.
Sound Design

Soundtracks include Rise ['99], Boneflute ['00], Paradise ['03] and Requiem ['06].
Performances have been made in New Zealand, Noumea, Adelaide, Venice, Stuttgart, Amsterdam, Vienna, Brussel
s & London.

The foundational concept for MAU is Va. Va is relational space that weaves and binds the body with the world. The Va is a dimension where we are all inseparably intertwined; a permeable flesh network where things pass into us as well as we into things. It is the space of responsibility and response-ability. The Samoan expression 'teu le va' or honour the space, asks us to maintain our abilities to be in the va space. This call for presentness is embodied in Samoan customary rituals such as tatau and ava ceremonies. The work of MAU, an act in the Va, is a process allowing for constant change, which never reaches its final form. Refusing to be controlled, it lays in motion never-ending vibrations of unrest. See MAU website.



Charles Koroneho-Dance Theatre
charles koroneho

A former member of the RNZ ballet,Charles has danced with many of Aotearoa's top choreographers. From 1993-97 Charles studied sculpture at the Elam School of Fine Arts. His 1997 project Te Toki Haruru-Retrieve included many archival recordings of Waiata. In 1998 a soundtrack was made for his installation/performance piece Ocean Born. This premiered at Lopdell House Gallery, then the Lane Gallery, Auckland.


Min Tanaka-Dance Theatre
min tanaka

Min Tanakas' sense of space is acute. "I dance the room." Min Tanaka came to NZ during November 2000 to perform solos in Auckland and Wellington. In Auckland he directed a ten day work-shop, the essense of which he used to direct a performance, Continuous Incomplete. This was performed at the Wintergarden in Auckland domain.The sound track for this performance incorporated original m.chest material with a gypsy song.


Merenia Gray-Dance
merenia gray


Direction and choreography Merenia Gray
Te Whaea (Toi Whakaari NZ Drama School/NZ School of Dance), Wellington.
2001
Composition

Merenia Gray commissioned 3 music works for her work, Wild Civility. This work explored globalisation at the start of the new millenium.


Angelo's Song-Theatre
2nd unit

Directed by Dave Letch
Written by Dennis Edwards
Produced by Auckland Theatre Company 2nd Unit
Maidment Studio 2002
Sound Design

In 2002 two locally written scripts were developed for ATC/2nd Unit's Final Draft. Dennis Edwards wrote Angelo's Song, & Jacques Strauss wrote Small God. The soundtrack for Angelo's Song was created in close collaboration with director Dave Letch. It featured Puccini, Lanza, Te Waita, radio hits from NZ late 1950's + some cello sampled compositions by yours truely, with prison atmos created from slow-motion doors opening & closing.




Macbeth-Theatre
pandemonium

Directed by Margaret-Mary Hollins
Produced by Pandemonium Theatre
Silo Theatre, July 2003
Sound Design/Composition

Margaret-Mary used the music of Astor Piazzolla in her "Shakespeare's Shorts" 20 minute short version of Macbeth. We continued with this theme, using Piazzolla to punctuate dance sequences and contrast the weight of the story with brisk and uplifting sound. This is in turn was contrasted by sampled cello music underscoreing Macbeth's murder and madness. Environmental sounds exposed the world of Dunsinane.


Eating Sausage-Short Film
eating sausage

Written/Directed by Zia Mandviwalla
Produced by Annelise Coulam
2004/35mm/14 mins. Festivals: London & Pusan
NZ Screen Awards Best Short Film Script 2005
Composition

Recently arriving from Korea, Su Jung befriends the neighbours who take her along to their weekly swimming lessons. When dinner is not cooked and the routine of the house is disrupted, Su Jung’s husband is afraid of losing his cultural values, while Su Jung finds her home in the water.



Marat Sade-Theatre
marat sade


By Peter Weiss
Directed by Jonathon Hendry
Year 2 Acting students
Produced by Unitec
Unitec Theatre and surrounding rooms September 2005
Sound Design

Forty years ago, director Peter Brook explored the ideas of visionary poet-philosopher Antoine Artaud. As part of their performance research, the Year 2 actors conjured up the past as they utilised three rooms of what were historically part of a former psychiatric hospital.

The patients sang, played piano & percussion whilst the sounds of the asylum wafted in from side rooms. "Poor Marat in your bath-tub seat." The tap drips.


Animalia-Installation
animalia

Sound Design/Composition

Interactive Installation directed and produced by Angela Main & Caroline McCaw

Designed for four people, full size, full body projections ‘play’ within a ‘hotwired’ and immersive space and evolve through a progression of environments, requiring teamwork and timing, on their way to Nirvana.

Upbeat music, natural atmospheres, spatial sounds, each player with their own animal sound-eventually mutating into that of other player.



The Land of Make Believe-Theatre
land of make believe

Directed by Julie Nolan, Written by Vanessa Rhodes
Produced by Silo Theatre
Silo Theatre November 2005
Sound Design

Generation X proudly farewells the day predicted to end the world. A triumph for high-tops, shoulder-pads and MTV. The big, fluorescent glamour of the eighties doesn't have quite the same look in a small NZ city, where Carol-Ann dreams of a magical future beyond the limits of the Hutt Valley.

The Hutt Valley line train goes by, a teenage girl lip-syncs Dolly Parton, mum's country music, cars toot, school bells ring, a french postman, tv drone, magic twinkle sound, Madonna mixed with your dodgy uncle's Metallica, cars roar, Wham, Dead or Alive, doors slam, knock knock, dark forest atmos, a twig snaps, Stairway to Heaven, Janis Joplin, new years' fireworks, Dusty Springfield. Snow.

That train again, London clubs, phone rings, whispered sounds from other rooms, a lift, German Opera, distant streets atmos, Bronski Beat on the radio, magic twinkle sound, dodgy uncle is back, phone rings, disconnection, the french postman returns, butterflies, 49ers, the train is approaching, the nightclub is approaching, the uncle gets shot at, voices rumble, water, twinkle, nature, The World, people walk, cars pass, busses chug, traffic toots, it all fades out. Bucks Fizz.

Doubt-Theatre
doubt

Directed by Colin McColl, Written by John Patrick Shanley
Produced by Auckland Theatre Company
Maidment Theatre March 2006

Sound Design

The soundtrack for Doubt is about connecting St Nicholas school with certain elements of American life in 1964. Sounds from outside of the school walls make themselves present and quietness is disrupted. The noise of helicopters, sirens & planes remind us that this play is also a parable about life in the US today. Sounds from inside the school such as chairs moving, choir practice and playground noise are distant so as to enlarge the space of the play beyond the stage. An ideal world is reflected in Eclesiastic music.


100 Cousins-Theatre
100 cousins

Directed by Sam Scott, Written by Briar Grace-Smith
Produced by Massive Theatre
Herald Theatre March 2006
Sound Design

Urban and disco music meets environmental atmospheres and specific character sounds.
Certain moments are pin-pointed for sonic emphasis.
Emphasis with sound though, not music.
This leaves a space for audience interpretation?
Sound forming a solid cloud on which the performances can ride!
We want the audience to forget they're in a black box with air-con and average acoustics.
Trying to make the space sound beautiful.
See Massive website.



The Ocean Star-Theatre
ocean star

Directed by Roy Ward, Written by Michael Galvin
Produced by Auckland Theatre Company
Maidment Theatre September 2006

Sound Design

Music for Ocean Star captures the emotion from one scene & propels us into the next scene. The main instrument used is a harpsichord sample chosen for it's clean sound and attacking character. It is also a very strong and definite sound. This helps portray a strength underlying the family structure. Each section starts with a star like sound.



Blue Smoke-Short Dance Film
no pic yet


Choreographed/Directed by Carla Martell
2007
7mins
Sound Design/Composition

As the domestic duties of the day drift by-a lonely housewife dreams her lost soldier back into her arms.



Lovely RITA -Documentary


Directed by Gaylene Preston
2007
70mins
Sound Design

Lovely RITA celebrates New Zealand painter Rita Angus.

She lived and worked at a time in New Zealand when to be a full time artist was not only unusual, it was hardly considered to be a serious occupation. Her paintings were undervalued during her lifetime but appreciated by a small informed group of supporters including the composer Douglas Lilburn, with whom she maintained a life long close friendship.

Over 300 letters from Rita to Douglas were in his possession when he died recently and these form a moving and sometimes startling personal commentary from the artist herself which illuminates a lifetime of painting.
Though Angus died in 1970, director Preston has found a colourful collection of friends and family who knew and loved Rita, while Angus biographer Jill Trevelyan provides a fresh intelligence on the Rita Angus life story. Young artists share enthusiasm for her work and the audience is taken on the occasional jaunt through an iconic work, such as ‘Central Otago’ and ‘Rutu'. See Gaylene Preston website.






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