BENTHAMPhotographs byCameron Rutherford
KONVICTUS2 0 1 5Konvictus is the publishing vehiclefor the books of Cameron Rutherford.It is a reflection of our society where,if we are honest, we are all prisoners ...the point is, to try and break out and escape.
BENTHAMPhotographs byCameron RutherfordKONVICTUS
KONVICTUSThis volume of photographs by Cameron Rutherfordpublished by Konvictus and Hand Over Fist Press, 2015Bishops Cleeveemail: email@example.comDesign by Alan Rutherfordemail: firstname.lastname@example.org: www.handoverfistpress.comThe film, The Frontier,directed by Cameron Rutherford and Blaze Rowe,written and edited by Cameron Rutherford,Produced by Jason Givenscan be viewed on YouTube, athttps://www.youtube.com/watch?v=VwsvAcOWhG0
IntroductionIntroductionIntroductionIntroductionIntroductionIntroductionIntroductionIntroductionIntroductionIntroductionIntroductionBentham–––––––Photographs: Cameron RutherfordThe following photographs show some of the remainsof the Bentham worksite. The site was used recently asthe location for a short futuristic film, The Frontier,details opposite.During filming Cameron took the photographs includedin this book. The derelict site at Bentham was part of thevarious worksites of the Gloster Aircraft factory (1917-1963), and it was at this Bentham site that the very firstjet engined fighter aircraft, designed by Frank Whittle, theGloster Meteor, was built (WWII).Other aircraft developed or built on this site include:Bristol Fighter (WWI); Gloster Gladiator; HawkerHurricane and Hawker Typhoon (WWII); and the GlosterJavelin ... amongst an impressive roster of ‘Gloster’ flyingmachines.It is truly a shame that all war and armaments factoriesare not in this state ...1
BENTHAMOn the choosing of the Bentham site …After a long and hard search, littered with disappointments,we finally stumbled upon the Bentham site. We weremonths into pre-production, I had written the first draft ofthe script a long time ago, but the film was entirely differentthen … now we urgently needed to find a place that wouldcompletely fit the post-apocaplytpic, crumbled-civilisationaesthetic that we needed to make sure the film workedvisually.One week away from filming, we found this place, minutesaway from our actual college, in Gloucester. We didn’t getour hopes up, after the previous location sites had fallenthrough, but we were motivated to get this place afterseeing pictures of it online. After no success on finding anycontact information, we travelled to the Bentham site tocheck it out. It was locked and we were all crushed, untilan old man walked out of one of the smaller buildings. Helooked annoyed to see us gathered at the locked gate, andwe all thought we had already lost any chance of gettingthis place.When he got to the gate and we explained we’re filmstudents, days away from filming, and in need of a goodlookinglocation. He told us he is the security guard of thesite … and he seems interested, he opens the gate forus. He walks us around the entire area, not letting up forone-second, filling us in on the place’s history and askingabout our production. After the grand tour, where me, myco-director and cinematographer took these photographs,the guard let us back out. He said to us it was lovely to meetus, we replied the same thing, he then stated we could filmthere and not have to pay anything (other sites had askedus [students] for payment to film!). He would even open upsome closed-off areas for us to film in, and all the while wewere taking photographs he gave us helpful suggestionson what he saw as good visuals on the site for our film.We thanked him, and left. A couple of days until filming,and one of our actors was unavailable to film, it was a childactor, who was the second-if-not-the-most-important role inthe film. We could not re-schedule the shoot as it was ourfinal major project of our second year at college, and wehad a deadline. I had to write a new draft from scratch, stillkeeping the main character and mood, and central eventsand motives, but rearranging everything to now fit just onelone survivor, instead of a father and son duo.We went back to the Bentham location before filming,getting to know the guard a little more, he introduced usto where he spends most of his time when working. It’s alittle building that you first see when coming through thegates, it still has electricity via two generators outside, allthe plug sockets’ hissed in a dangerous tone. There was asmall gym-like area in one room, where he said he lightlyworks out sometimes, as he was eighty years old (believeme, it was a shock to me also) A main room had a coupleold working televisions in, with a camera above one thatstreamed footage of that very room onto its screen, andan extremely old and worn toilet at the end. We asked himif he would like to be in the film, he declined, I think hethought we were joking, but I really wish he had accepted.After the filming was completed, after very long shootingdays, we said our farewell to the guard, it was a strangeexperience, I had only seen the guard a couple of times inmy life, but his personality and friendliness made a biggerimpact on me than a lot of people i’ve known for years.He’s from Johannesburg, South Africa.Cameron Rutherford, film-maker, 201552
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