Auramala book trailer shortlisted for the Antonello Prize

This week at the Turin International Book Fair the book trailer Auramala  is a finalist for the Antonello Prize for the Best Book Trailer. It is up against a daunting field of short films, many by large and established publishing houses like Mondadori and Feltrinelli, not to mention rock star Ligabue. The book trailer was produced by my old friend Giacomo Sardelli, director of the chilling short film The Ambulance and Further Up Yonder, which caused a sensation on the web back in December 2012 with its breathtaking footage from the International Space Station.

To celebrate being nominated for this award in such a prestigious event, here is a guest post by Giacomo Sardelli, on the making of the trailer. Well done Giacomo, once again your stylish work is being recognized!


How to make a book trailer


Auramala is a grand medieval adventure written by my Australian friend Ivan Fowler. It tells the story of two secret agents in the year 1338, who are on the traces of a mysterious king, whose destiny seems to contradict accepted history. After reading the book I decided that it deserved a book trailer with a cinematic touch, and this is the result.


The book trailer, the locations and the ammonite

Right from the start I wanted the book trailer to have a cinematographic look. Generally, book trailers favour animation and graphics over live action footage. Auramala has the good fortune of being set in a landscape that lends itself to filming, so I decided to base the book trailer of Auramala on two key elements: the location and, to hold the story together, the ammonite.


The Location

Ivan has lived in Pavia for years, and has acquired profound knowledge of the the city and its Province, which he loves. The pages of Auramala betray his passion for the Apennines of Pavia, the Oltrepò Pavese, which is as much a protagonist of the book as the human characters. For this reason I inserted into the shooting list some time-lapse sequences taken in the exact location of the book, a region that is still wild enough to allow for fields of view where there are no modern or non-medieval elements whatsoever.

Oramala Castle, in one of the time-lapse sequences for the trailer. For this take I set up an f/20 aperture, with a 1/50 and ISO 400 shutter. Shots were taken every 10 seconds to cover the entire duration of the sunset in 250 frames (in editing terms, 10 seconds of footage at 25fps).
Oramala Castle, in one of the time-lapse sequences for the trailer. For this take I set up an f/20 aperture, with a 1/50 and ISO 400 shutter. Shots were taken every 10 seconds to cover the entire duration of the sunset in 250 frames (in editing terms, 10 seconds of footage at 25fps).

To plan the timing of the shoots, above all for the time-lapse sequence, which can literally take hours, I used The Photographer’s Ephemeris, a neat, free app for PC and Mac, and available for Android and iOS for a fee. TPE allows you to find out exactly what time the sun rises or sets, and on which point of a horizon. An image is worth a thousand words:

Oramala Castle with the direction of the sun and of the moon at sunrise and at sunset.
Oramala Castle with the direction of the sun and of the moon at sunrise and at sunset.

Knowing the timing and direction of the sunset, I set up the shoot, deciding on the right angle as soon as I arrived on the spot. I shot the video footage in the surrounding areas when the light was not yet right for the time-lapse sequence, and got back to the spot where I was going to film the sunset just in time to set up the tripod.


Remote controlled slider For the tracking time-lapse shot I used a remote controlled slider that I finished constructing myself just the month before. It’s a bit of an ad hoc, hand-made job, but it does exactly what it’s intended to do, just right. The two motors allow it to slide at a normal speed for a regular tracking shot, but also ultra-slow for time-lapse. I still have to measure it exactly, but roughly speaking it will do a metre in 10-15 minutes on slowest speed. Perfect for a time-lapse sequence. Here is a photo taken with a smartphone on the day of the trial: image

The Ammonite

The second element I used is the ammonite, which plays a key role in Auramala, so it couldn’t be missing from trailer. It poses a question in viewers’ minds that can be answered by reading the book. The ammonite is in the hand of a character who, in 1338, is fleeing through the woods, and who has to hide it somewhere before his pursuers catch up with him. The sound of bells guides him to the Abbey of Sant’Alberto, where he finds a niche in which to conceal it. For these shots I therefore needed a brick-work niche, and the possibility to age it by 600 years, until the present, when the detective in the trailer discovers the ammonite inside it. I created the niche so as to have total freedom in positioning the camera, and so as to be able to modify it as I pleased. Some moss and dust (from Ivan’s garden and firewood-pile respectively) re-created a 600-year journey through time. Here is the result, the final shot and the mini set. image

So, these are the simple techniques I used to achieve the result I wanted. If you have any questions about any other part of the video, I’ll be happy to answer.


Giacomo Sardelli, author of the blog Making Movies, studies Film and New Media at The Nuova Accademia di Belle Arti, “New Academy of Fine Arts”, or NABA, in Milan. After his first-aid adventures with The Ambulance and trip into outer space with the world-recognized Further Up Yonder, he is now working on a documentary in his experiences with a Ugandan tribe, the Karimojong. In the meantime, he has travelled backwards in time ot 1338 with an Australian story teller in search of King Edward II of England, and much else besides.


The Hunt for the King 2) Discovering the Fieschi Letter

Let’s be absolutely truthful about what we know for certain concerning the Fieschi Letter (see the text of the letter here). 1) we know the words contained in the text; and 2) the physical nature of the letter. In other words, we know the content of the text itself, and the fact that this text was copied into a register, which was completed in the 1360s. This register belonged to the Diocese of Maguelone, which has since become the Diocese of Montpellier, hence the the letter is in the archives there. That is all. Everything else is hypothesis, sleuthing and deduction. Everything else must be accompanied by expressions like ‘maybe’, ‘possibly’, ‘perhaps’ and ‘must be’.

The Archives of Montpellier today, with Auramala Project resident film maker, Giacomo Sardelli
The Archives of Montpellier today,  by Zaha Hadid Architects, with Auramala Project resident film maker, Giacomo Sardelli

In order to better understand the nature of this sleuthing, I want to pay homage to the discoverer of the letter, Alexandre Germain. I want to imagine seeing the letter for the first time, just as he did back in the 1870s. However, we will go through this process of discovery as though it was us looking at it for the first time. This way, some of the possible thought processes involved emerge. Alexandre Germain himself was a famous, distinguished professor of history and head of the department at the University of Montpellier, not a mere mortal like us. He may well have accomplished everything that follows in a matter of minutes, in a largely instinctive manner.

Discovering the Fieschi letter

The fine, beige, almost shiny pages of parchment crackle ever so slightly as we turn them over, one by one. At page 86 we pause. The margins are empty, giving this page a different appearance to all the others. The rest all bear the main text in reddish brown ink, with smaller texts in black ink in the margins, probably markings made by the scribe’s overseer to certify each copy as it was made. They are missing on this particular page. But actually, the margins are not quite empty: in the same ink as the main text, to the extreme right, the word ‘vacat’ (it is vacant/missing) appears, smaller than the main text. What is vacant? What is missing? In other contexts we have seen the word ‘vacat’ used to indicate where portions of text of the original are missing, or where the original itself has since gone missing. But we know that words like this are used in different ways in different times and places, so we can’t draw any firm conclusions. (1)

Vacat: 'it is vacant/missing' - but what does it mean here
Vacat: ‘it is vacant/missing’ – but what does it mean here?

Now we take a quick look at the first and last lines of the text. The first lines of medieval church documents generally contain a date, written out in words, whilst the last lines list the person who created the document, generally a notary, and the people who witnessed it, generally church officials of some sort. This document cites neither a date, nor a notary, nor witnesses. And it is signed like a letter: ‘Your Manuele Fieschi, notary of the lord Pope, your devoted servant’. How curious! What’s a private letter doing in a register of 13th and 14th century administrative documents relating to the Cathedral of Maguelone?

Let’s see what information we can glean by skimming through the letter for key words, such as names of people, their titles, and the names of places. But even skim reading is no simple thing! 14th century handwriting is a challenge in itself.

ex confessione patris vestri… if you can read it!

We soon realize that the writer never names the person he is writing to. He tells the intended receiver his/her father’s confession, but never names the father either. So who were the intended receiver and his father? What was their relationship to the writer? We now notice that the writer and receiver were not on intimate terms. The intended receiver is addressed  in a formal way, using the second-person plural, just like ‘Vous’ in French, but in Latin it is ‘vos’. So now we know that the writer and the intended receiver weren’t on highly intimate terms, such as half-siblings, foster brothers or childhood friends.

We are now faced with an entire document which essentially speaks formally to an unidentified ‘you’, and talks about ‘your father’, and the name of the father is never mentioned either. Let’s look again at the end of the document, there must be a clue somewhere. Yes, this Manuele Fieschi character recommends the letter to the attention of ‘vestre dominacionis’, so this was the title of the intended receiver. ‘Dominacionis’ comes from the same root as domus (house), dominus (which in its most essential meaning could be something like ‘master of the house’), and ‘dominatio’ from which derives our English ‘domination‘, to rule over. But we know that this expression in the Latin of the time could have been appropriate for a great lord, a duke or a prince, a King or even the Emperor. So, the letter is intended for a very important person, but we don’t know their specific rank.

Our eyes alight on a piece of direct speech. A servant is addressing the father, and calls him ‘dominus’. This is one of the few Latin words that English speakers are familiar with today, thanks to hymns and church music, but it doesn’t help enormously. This term could be appropriate address for everyone from a lower ranking but respected individual (a householder without noble rank) right up to the Emperor, the Pope and God. In fact, Manuele Fieschi identifies himself as ‘domini pape notarius’, notary of ‘dominus’ Pope. It’s vague, but there’s no help for it. It makes us think of the way that, today, one might tap a gentleman on the arm to get his attention and say ‘excuse me sir’. We don’t mean that the gentleman has been knighted, this is just a form of address. Indeed, we know that the female equivalent of ‘dominus’, which is ‘domina’, was used irrespectively of rank in what is now Italy to the extent that its derivative ‘donna‘ now generically means woman.

Now let’s look at the place names. Perhaps we can identify which corner of the continent the Letter talks about. And there, we find a great surprise. The letter begins by saying that the father understood that all of England was against him. England! The following place-names are unfamiliar, particularly with the erratic, unpredictable spelling that is typical of medieval documents. For example, where is this castle called ‘Berchele’? Then we find an interesting name: Henricus de Longo Castello. Isn’t ‘Longo Castello’ pretty much the Italian for ‘Long Castle’? Let’s Anglify it a little… Longchester? Longcaster… What’s ‘long’ in Old English? ‘Lang’… Langcaster, Lancaster!’

Seal of Henry of Lancaster, 3rd Earl

Next, our gaze falls upon another familiar-looking word – ‘coronam’. This is the accusative case for ‘corona’, or crown. We pause to translate the whole phrase, and are startled to learn that the father of the receiver loses his crown. He is a king! Now our attention is completely riveted on this letter. It’s not everyday you come across the confession of a king, after all.

We continue through the letter, until we reach the section describing how the two assassins presented the murdered gate-keeper’s body and heart to the queen ‘as that of your father, and as the king’s body it was buried in Gloucester’. Now we finally have an element that can tell us who the mysterious ‘father’ is. He was a King buried in Gloucester. We reach across to our tablet and swiftly search for… Oh, this is the 1870s. Um, we search back in our memory to our school days, when we were forced to learn the complete succession of the Kings of England,  and we remember that the only king buried in Gloucester was Edward II, after the infamous red-hot poker murder in Berkeley Castle (‘Ah!’ we think ‘so that’s the place the letter calls ‘Berchele’) After a little research, we realise that the letter goes far beyond accepted knowledge about the death of Edward II, claiming that he escaped death in Berkeley Castle and went on to become a pilgrim and hermit far away on the continent – after meeting the Pope in Avignon!

Upon discovering the letter, Germain no doubt believed that he was re-writing a page of history. And it couldn’t have happened to a more deserving person: it took enormous preparation and special qualities to notice and identify the Fieschi Letter. Germain and his colleagues in France and Italy seem to have embraced the story told in the letter fairly easily. After all, the loss to the English of the bones of one of their kings was hardly a matter of concern to them. I wonder if the great Germain would have been put out by the way the English very calmly dismissed the letter as sheer falsehood for the following one hundred and twenty-odd years?

The main source for this blog post is Seymour Phillips biography of Edward II, 2010, chapter 12, Afterlives, pg 583-585. The Auramala Project verified this information, and expanded on it, during a visit to the Archives départementales de l’Hérault, where the Fieschi Letter is to be found, in early August, 2013.

(1) For example, we found ‘vacat’ used to mean missing portions of text and/or a missing original in: Cammarata, Italo, Cronache del marchesato. Documenti per la storia della rocca di Oramala, del Castello di Cella e dell’Abbazia di S. Alberto, Guardamagna, 2006

Auramala: The King Lives – trailer launch

Well, the launch of the revised edition of Auramala is just around the corner! On Thursday this week (28/11/2013) the new edition will be in bookshops and available on line. Giacomo Sardelli has directed this trailer for the occasion, featuring stunning time-lapse footage of Oramala Castle and the hills where Edward II may have lived. Access to the book has now been made easier by the posting of a dedicated website. There you can also download the Prologue and Chapter 1 as a free sample. You can also find us on facebook at:

Happy viewing, happy reading, and happy sleuthing after the truth about what happened to King Edward II!


La nuova edizione di Auramala è quasi arrivata, e ora è disponibile anche in italiano! Giovedì (28/11/2013) sarà in librerie e in online bookstore. Giacomo Sardelli ha creato questo trailer per celebrare l’evento,  caratterizzato da riprese time-lapse eccezionali del Castello di Oramala e le colline dove Edoardo II avrebbe vissuto. Accesso al libro è ora facilitato da un nuovo sito dedicato, dove sarà possibile anche scaricare il prologo e capitolo primo gratis. Ci trovate anche su facebook a:

Buona visione, buona lettura, e buona ricerca della verità su Re Edoardo II!

Ivan Fowler and everybody at The World of TELS team.