Millie Johnson

Artists Portfolio:

Artist statement
I’m an artist who always observes, searching for cultural un-
derstanding and meaning in the world we live in. The Ja-
panese call this artform ‘物の哀れ' [mono no aware] ‘the
pathos of things’ the emptiness in everything that lead to
the knowledge of their impermanence.

I use this way of thinking to explore the binaries of the in-

ner and outer self through my chosen art form of film,
always intruiged to discover the boundaries of filma-
king and collaborate to curate intimate films with per-
sonal messages. I also adore working with analog film
and other mixed media, as incorperating it onto my
work challenges and shapes me as a film practitioner.
 CONTENTS:
CLICK FOR Filmmaking

Creative Planning

2021 SHOWREEL Photography

Behind The Scenes

MY WEBSITE Artwork

Here is a QR code to my we-

biste, containing all of my pro- Crtitical Writing
jects in full + more content

Other Works

If you would prefere to have this booklet in

hardcopy as well as digital, please do not he-
sitate to email me and it will be provided. this
booklet serves as an accessable hub for links
and context, so you can get the most holistic
view of my work.
 Film Work
(Portfolio) Made in isolation:
curated independently by
Millie Johnson

Made in isolation is a solo project surrounding
my loss of identity during a time of abuse,
the only steady things in my life being the
four walls surrounding me and comforting
childhood memories. The multiple slides of
footage were recorded over multiple days as
and when I wanted, to build up the film as I
was rebuilding myself. Through my journey I
discovered new editing techniques that have
featured on my other works, like combining
super 8 film with DSLR camera footage. This
earnest mix of media is something i aim to
explore further in my studies. Something
I truly enjoyed while curating this short
was discovering a new filmmaking style,
which taught me how to portray mes-
sages more implicitlly in my ongoing work.
furthermore, due to a COVID lockdown, I did
not have access to any sound equipment, so
the sounscapes were a real challange to create.
I overcame this through the inspiration of silent films,
which I love and watch frequently. This short will
shortly be shown in an installation of filmowrk at my
college curated by myself for college filmmakers to
explore immersive film and its effects on its spectator.
Rosemary
Rosemary: A level short film
Joint Director, Sound
cinematographer, and de-
sign: Millie Johnson

Me and my collaborator are fascinated by the micro narratives that come from expe-
rimental films and their unique filmmaking process, so we decided to base our short
film on experiemtnal practice. Rosemary is about a girl trapped in the same cycle,
finding a map and naively running
away. I wanted to combine urban
landscapes with the freedom and
sparsness of water to explore
Rosemarys troubled inner
psychology; her deep longing for
a place of escape. This was the
first five minute short film I directed, and the focus on reworking traditional film
aesthetics was something I enjoyed greatly. Another thing I enjoyed while curating
Rosemary was the collaborative aspect of production. Through this process, my
partner taught me how curate a foley and ambient soundscape while I shared how
to use equipment like a gimble, jib arm and fig rig. Sharing of skills from all cultures,
people and places is something I personally treasure, so the opportunity to collabo-
rate is something I always seek.
 Curated independently by
Millie Johnson

My concept for this piece was to

​​
combine two found photographs of
anonymous members of my family from
1998. Using a hand edited flicker ef-
fect with slow zooming out, we explore
the disjointed relationship between
two young lovers. The slow zooming
out reveals to us the pictures are se-
parate, using tempo, we can infer the
two lovers were never in sync with one
another. The only thing keeping them
t o g e t h e r
is the location and time of which the
photos were shot, as they were together
on that day.

My idea for this piece of media was

purely an experiment, but the pro-
cess helped me discover an ob-
session with investigating hu-
man relationships within film,
and how the maker can curate subjective
narratives towards sometimes separate
sections of photography, film and art.
 Behind The Scenes
I always think it is just as important to show the hands on process of filmma-
king alongside the creative production. Here are some pictures taken through
various productions to provide context to an important process in film making

Some key things I have learnt through practice are the specialist skills in colla-
borative production and technichal proficiency; vital skills for the film industry
I am working to be a part of.
 bons après
my
midi d'été good summers afternoon

view more of my
photography by
scanning the QR
code

or click on the link My good summer afternoon was a photo project I did to re-find the sym-
HERE biotic relationship i have to the environment around me. I made myself

a subject in these photos not by being in them, but simply portraying

the lens as my eyes- all that I see in the space I can see. This photo has

been left unedited, exactly how I saw the landscape, raw and alluring.
The BFI Film
Academy
2021, Pinewood
I attendied the ictober BFI Film academy course

at Pinewood studios late this year after being

selected through application and interview. I

demonstrated my skills as A director, being

chosen to direct our groups short film- : never

leave me.

Never leave me

Director : Millie Johnson

Professional Acting
Work (2012- 2019)
Anne Koska Agency
work includes:

Fantastic beasts

Exodus Gods And Kings

Fortitude (sky Atlantic)

Mary Poppins Returns

Justice League

Bridget Jones Baby

Star Wars, Rogue 1

The darkest hour

Project HER
SEOUL, Korea
2021
A mix of images and art depicting the process of ma-

king the Korean collaborative project, Project HER.

This installation was created for the Korean public;

exposing the culturally taboo crisis of up skirting and

sexualising young girls on trains.

Due to my connection with the curator I was asked to

produce artwork and help with the costume design

on set.

Meditations Of Boy,
Mediations Of Girl.
2021 Magazine Exerpt
A photo edit I was asked to design for a friends article

displaying the impact of photo editing on narrative.

This screenshot was taken from footage I captured

while passing a small cove in Wales.

I was tasked with using extreme editing techniques

to mediate a photo, curating something completely

different for the audiences narrative view.

 1  
City oOf God
(2002)

Academic writing
Extract from my 2021 City Of God essay

Mirelles and lunds City of God 2002 utilizes a documentary scene- while tight framing prevalent in the

aesthetic to portray the dichotomy between innocence and documentary aesthetic enhances the rea-

power within the City of God, while depicting the harsh bru- listic tension. We are placed in the middle

tality people face daily in the favelas. This is specifically illus- of the runts, the handheld camera further

trated within camera movements and angles in the infamous ameriolating the feeling of reality within

hand and foot scene. We are initially greeted with an esta- the scene. We are placed at the runts eye

blishing shot of the runts all gathered in a pig pen, the still level, the framing is loose and the scene

crane shot (almost birds eye view) securing the audience as is relaxed and innocent, reminiscent of a

an omniscient spectator judging their fate. We then jump cut playground meeting. This established the

to an eye level shot of cattle being rounded up ready for killing- runt's humanity and their innocence as

subtly foreshadowing the fate that will become of the runts kids- which makes it even more jarring

in a few minutes time. The jump in between the camera also when we see it ripped away from them.

brings a change in camera movement from crane to handheld- Only diegetic sound is used in the scene,

from safe fantasy to reality. The change in camera movement enhancing realism (contrasting the exotic

(curating intimacy and chaos) hyperbolised the fact we have soundtrack here through the film) and fo-

been placed from a spectator to an active participant in the reshadowing the narrative climatic tension
 (short film)
for Rosemary
Examples of my
planning process

all of these can be seen in more detail on my website

ning for the short films I produce. Contained is a

risk assesment, storyboard and shooting schedule.

This page contains some examples of my plan-

RISK ASSESSMENT

HAZARDS CONTROL MEASURES

HAZARD NUMBER WHAT IS THE HAZARD? HOW WILL YOU PREVENT THIS?

00 Covid-19 - Masks for the crew

- We have all been double vaccinated
- Mandatory lateral flow tests before filming

29 Coldwater - bringing hot water bottles, blankets, towels, heated gilets, warm drinks, and
food,
- a short time in water (2 mins)

5/18 Jib operations & Heavy lifting - I have an adult to help me with the equipment, he also knows how to use it
as there are no major risks.

04 Crowds & public - Signs put up while filming

40 Proximity to water - Waterproof the equipment, keep it clean and out of the sand and water
- Just in case any sand gets near the lenses I have a special airbrush to clean
equipment safely

29 Child on set - Parent attending as a chaperone

- Make both aware of the scene overview

27 slipping/ tripping/ falling - Actor is required to wear shoes at all times in water and out
- When completing full body shots she will not be required to run to avoid
slipping hazards

34 Travel - Travel by car for time efficiency

- Less risk to equipment if traveling by car
- Safe for actor and crew
analogue Film &
digital camera work
OTHER WORKS
Faith In Persona
Faith in persona is somewhat of an ongoojng side project where I take pictures on
my digital camera or film camera (that I carry around everywhere with me) of things
I find beautiful. This has led my to learn through hands on experience techniques like
compositional framing, documentary narrative and colour theory

you can find this

project on my
photo diar y (lin-
ked)
my web site and
in my many pho-
tobooks/ zines.

2019- present

Artwork
Multiple Pieces
Film is not my only passion. Drawing brings me
joy, giving me another medium to express what
I am thinking or feeling. I adore expressing my-
self through mixed media projects, usually only
using recycled materials in my work; which can
be seen on my webpage.

An abstract storyboard drawn under timed conditions to capture the mov-

ment of a documentary I was watching, perversion for profit. I continued the
process with thick brush strokes of water mixed with coffee, to give the disinte-
grating characters an alluring movement, juxtaposed by their dark body lines.
Millie Johnson is a student Filmmaker located in
South East England.

Please get in contact via phone or email:

email- milliejohnson901@gmail.com
phone- 07745510093
website- milliesportfolio.wixsite.com

My Photo diary- sentient_evlen.tree (on instagram)

currently studying music, philosophy and film at the

Sixth Form College Farnborough