Our first unofficial screening...and what a place to have it! On August 19th we will be showing the film in a small theatre in NYC. It's a strictly invitational-only event with the aim of raising awareness and funds for the launch and outreach programme.

The recent colour correction and final parts of post production were completed in the London studios of Pixel Kitchen. One of the directors, Alec Ceschi, has been supporting Baan Gerda for the last few years;

How did you get involved with the film and Baan Gerda?

"After my first visit to Baan Gerda in 2007 I met Karl and Mike and, since I have a background in television and filmmaking, they asked for help developing and filming the documentary. The days spent with the team filming the various stages of the project were extremely enjoyable and fulfilling."

What do you hope the film will achieve?

"The main aim of the film is to stimulate awareness of the stigma attached to HIV affected people and children in particular. I hope that it will help the process of re-integration of these children in to their communities and into the broader society, both in Thailand and in other countries in the world where the problem exists. I believe that Baan Gerda is primarily a "half way house" in a sense, the best place for these kids to be cared for in a family environment and grow healthy and happy, but the real challenge will be in helping them after they will inevitably have to leave that wonderful place and hopefully get the same opportunities as others to get jobs and live a normal, fulfilling life."

The score for Living with the Tiger was a collaboration between composers John Califra in New York, and Anthony Drennan in Ireland.

I asked John what attracted him to this project...

"I think that this is obviously, a worthy and interesting undertaking - one of those rare opportunities for a composer to involve himself in something of genuine value. There are depths of tragedy and there's great hope and humanity - all focused through the eyes of these kids. Personally, I regard the documentary film score as presenting certain creative challenges for the composer that are more interesting than those of dramatic films.

What were the challenges in putting the score together?

"For a music score to do this film the justice it deserves it must do more that simply "work"  or even, work well.  The music must somehow convey the humanity which lies at the heart of the film - and do it in a way that is simple, direct and memorable. The music needs to articulate the lives and backgrounds of the children and the effect which their participation in this project has had upon them.  This, of course, is something separate from the opera.  The difficult part is to infuse the score with the necessary relevance, beauty and pathos while not diminishing the impact of the opera."

We are finally nearing the end of post production and if everything goes according to plan, the film should be completed by the middle of June.

The composer is currently recording the score in New York; the final mix is being done in Bangkok next week, and after that the colour correction, NTSC conversion and tape transfer will take take place in London. A truly cosmopolitan process!

It would be great if we could sit back and relax, but by all accounts we are only half way there. The distribution and promotion will consist of at least a year on the festival circuit, in addition to special screenings and fundraising events. We certainly need to raise more money as our budget is completely exhausted.

We hope to have a preview DVD available within the next couple of months.