Wednesday, November 3, 2010

Awesome article at Women In Hollywood on truly independent female filmmaker, Sarah Jacobson.

I love I love I love. Sarah has become my new hero.

- - -
From WiH:
...In 2002, Sarah put together the STIGMA (SISTERS TOGETHER IN GIRLIE MOVIE-MAKING ACTION) manifesto for women filmmakers that I want to share with you. This totally rocked my world and I hope it rocks yours as well.
  • Because movies that reflect a woman’s point of view are still too rare.
  • Because even though women are achieving incredible feats in business, politics, sports and the arts, we are still invisible unless we are the love interest or the heinous bitch (or both!).
  • Because women who have made films in the past have been written out of history—like Alice Guy Blache, the first narrative filmmaker (The Cabbage Fairy, 1896), who went on to run her own studio and was involved with over 700 films and has been totally left out of the history books.
  • Because distributors don’t pick up films made by women and critics don’t champion girl-friendly movies that do get released. (Can you name any female-directed, critic-darling movies where a woman doesn’t die at the end?)
  • Because the industry doesn’t know how to market to a female audience and isn’t interested in organizing one.
  • Because women over 35 are one of the largest movie-going audiences and Hollywood doesn’t want you to know!
  • Because someone made, released and gave a ton of money to Shallow Hal!
  • Because girls are still getting intimidated out of film school.
  • Because we are not going to put up with this *beep* any longer.
  • Because we are tired of women filmmakers and women’s stories being considered a stigma.

Here are the guidelines:
—At least one of the main characters is a woman.
— The main woman character does not die at the end, especially if she flaunts moral and sexual conventions.
— The main woman character does more than be helpless and/or sleep with the main man character.
— No rapes against women unless it deals with the consequences.
— No “glamorous” female naked corpses.
— More eating pussy and clitoral stimulation scenes during sex scenes if there are any.
— No shopping montages.
— No makeovers.
— Must have at least one guy in the cast who straight girls would want to French kiss.
—No dissing of fat girls.
— No male fantasy lesbian makeout scenes.
— Beautiful girls only fall head over heels in love with ugly loser guys if he’s rich or gives good head.
— The main woman character must have one real friend who doesn’t *beep* her over at the end because of jealousy over a man.
— A woman must either be the writer or the director of the film.
— TAKE YOUR CREDIT. Women, no more holding back to not intimidate others, especially if you are producing your boyfriend director.

- - -

A manifesto to live, work and write by.

Friday, October 15, 2010

3, 2, 1...

…and the film is going live today, as is the official Doll Parts website, so please go check it out...

Thursday, September 30, 2010

September movie playlist

- Memories of Murder
- The Sweet Smell of Success
- Heavenly Creatures
- Piranha 3D
- Eaten Alive (Tobe Hooper)
- Scott Pilgrim Vs The World
- Who’s That Knocking At My Door
- Cloudy With A Chance Of Meatballs
- Heartless
- Shogun Assassin
- Festen
- Tape
- Old Joy
- Fish Tank
- Death In Love
- 20th Century Boys
- Bangkok Dangerous (1999)
- The Burning
- Mutual Appreciation
- The Big Chill
- Exam
- Lifeboat
- Oasis Of Fear

Tuesday, August 31, 2010

August movie playlist

- A Single Man
- Ride With The Devil
- Dear Wendy
- Braindead
- Thirst
- Scott Pilgrim vs. The World
- City Of Lost Souls
- Repulsion
- Inglourious Basterds
- Repulsion
- Departures
- The Lookout
- The Puffy Chair
- Mother
- Rope
- The Puffy Chair
- Little Miss Sunshine
- Jurassic Park & Jaws (PCC double bill)
- Hatchet & E.T. (PCC double bill)

FRIGHTFEST 2010:
- Hatchet II
- Primal
- Eggshells
- Texas Chainsaw Massacre
- F
- Red Hill
- Dream Home
- The Pack
- We Are What We Are
- Damned By Dawn
- Buried
- Diary of Anne Frankenstein
- The Loved Ones
- Red White & Blue
- The Last Exorcism

Monday, August 30, 2010

the short answer is Never Give Up

2010 has been a very odd year and it’s culminated recently in a verging-on-existential-crisis-moment. Just one of those WTF Am I Doing kind of feelings that’s been exacerbated by still being out of work and being given notice on my beautiful place in Bloomsbury, meaning I may have to move back to my parents for a while (eeek). I sat down to write a basic day-to-day email to my BFF in NY, and it ended up turning into a rather epic outpouring of everything. His response was the best pep talk ever – raw, honest, verging on brutal – but it’s what I needed to hear. What I already knew on some level, I guess, but you still want someone who knows the path, who’s been there, is already there, to tell you about it. Excerpts below, because I think it bears frequent reading:

From: Dan
To: Hannah
Date: Mon, Aug 30, 2010 at 3:57 PM
Subject: Re: this turned into a really epic email. like, get-a-cup-of-coffee long.

...[It’s] the usual existential crisis for the creative class - those of us with the permanent job problem since all we really want to do is make things and learn. Let me tell, you, it only gets tougher as you get older and everyone you know has kids and steadiness and plans and savings accounts...

Part of this is simply accepting your shape. Anyway, those years from 17-26 are never wasted, or to be more precise, they are the part of us that is shaped by not worrying, trying things out, getting lost, being stupid, having fun and through it all, forming our ideas and ideals. I mean, when did you learn to be passionate? Not just about film, but about life (and film too)? Those are the years... What you mustn't do is think you're done being passionate (or stupid or wasted or having fun) even though this is the time for you to focus that passion towards satisfying Greater Needs. For most people, those years almost accidentally lead them onto a path, through a relationship, or kids, or a job that started out fine and then became permanent. (I don't mean to say none of those people are passionate, but it does get beaten out of one.) While you're out having fun, you end up dancing into a box and boom you're stuck. For a few of us, we were never really going to let that happen. For us, the passion is the point.

So then, the only question is, what are those Greater Needs I mentioned? It is a simple human desire to be satisfied - no, pleased (overjoyed!) - at the products of our hands and hearts and minds. It is, unfortunately, not in the interests of Capitalism for us to express or even understand that desire. We are removed from our work, and our labor is at the service of Capital only. We are taught to subsume those desires under an unformed lust for shoes and shiny things. So of course the road is tough for those of us trying to make it in the Matrix, when it all just looks like ugly code... I'm telling you, that part will not get easier. It is only easy for the Trustafarians and the Insanely Fortunate. We are really neither, and have to use the light of our little personal passions as the beacon to carry us through the Dark Nights. I have indeed had many of these nights recently, but every day I thank the gods for that beacon, for without it, I would be truly lost.

...Make your goals and to-do lists enormous in scope, but small in steps. Baby steps will get you the way, on steadier feet. (Much better than standing around waiting for your feet to grow...) Keep talking to everyone you can. Keep pushing as hard as you can, no matter what.

Hannah, I'll keep saying it - it only gets harder. Turn up the music and the light on that beacon and know that you are doing the right thing. That excitement you feel when you think about making movies is the key; is there anything else that could make you so completely happy and feeling worthwhile?!? Remember also that we have little say over where the wind and weather will blow our little boats. Just keep that beacon in sight, and your life will be right.

I love you. Stay strong.

So I guess, in other words, keep on keepin' on ...

Monday, August 23, 2010

D.I.Y. Music Labels Embrace D.I.Y. Film

Interesting article in the NYT about the worlds of indie film and indie music colliding:

"Jagjaguwar is one of a number of indie music labels and hybrid companies that have turned to film distribution, some following the model laid out by seminal punk labels like Dischord and Touch and Go: stay small and informal, know your audience, and put out stuff you like. In the last few years, both the independent film world and the independent music world have stratified, shrunk by digital sales, a crowded entertainment market and the collapse of major specialty divisions. Money is harder to come by now. But experimentation can rule, and a few players have found that there’s a niche, and a clear overlap, in putting out D.I.Y. music and D.I.Y. film. "

Read full article here: D.I.Y. Music Labels Embrace D.I.Y. Film


Friday, August 6, 2010

pearls of wisdom

From the Producer, as we watch the DoP and two camera assistants reverently handling the Arri:

"It's like these tech people just get a hard-on in their brain when they get around the camera."

Thursday, August 5, 2010

adventures in production managing

producer, director, DoP

Made the jump from production assistant to production coordinator/manager this week, working with a London Film School team in connection with the Fast Forward producing scheme. Saw the ad on Mandy.com and dropped them a line, not expecting much, but the producers dug my CV so we met for a chat and they asked to me to come on board.

It was only a couple days before the shoot so a lot of the usual production coordinator tasks had already been taken care of; I was more there as an extra pair of hands, helping to get quotes and arrange van hire and so on.

Sunday was spent running around west London, collecting first the van, then a trip to Panalux in Park Royal to get the lighting kit (so much!) then to Panavision in Greenford to pick up the Arri 3 and everything that goes with the camera. Having not shot on film for years, it was interesting seeing how much was required (gosh, digital is a good deal simpler, isn't it?)

We were shooting in a props yard in west London, about 10 minutes away from my parents' house, so I just moved back with them for the week; I actually barely ever saw them as I was usually out all day, and would get back late to find my mum had left me dinner, despite my saying don't bother (my mother is practically incapable of not feeding us, if we're home). Call time most days was 8 to 8:30am, which wasn't too bad and we were exterior shooting almost all week. As it was early August, the weather was pretty good for most of it, but of course, this is England, so we also had a fair bit of cloud cover (which bugged the DP no end) and a day of constant rain. I caught the sun pretty quickly (perils of being fair skinned), but still better than sitting in an office all day...

land cruiser

The first day our main task was to figure out where we were going to sort out the food for lunch. One of the producer's mums had cooked us a ton of amazing Iranian food, but there was no where in the props yard to heat it up. We ended up at the kebab shop on the main road (Boston Grill on Boston Manor Road, should you ever wish to visit), sweet-talking the guy behind the counter. His name was Faro, and he told us that he'd been working in central London when they were shooting American Werewolf, and had ended up as a background extra during the big Piccadilly Circus scenes. Hilarious. He was happy to come let us use his kitchen every day, which was a massive help.

As well as sorting lunch, I was making sure things were stocked and managing the runners. Though, resume-wise, it was a rather quick jump from runner/assistant to production manager, having made our own short at the beginning of the year with minimal crew and budget, it was actually a really easy shift into the role, and I found that everything I'd had to do on Playtime's Over came in handy on this shoot. It also helped that we were working in a part of London I knew well, as I could easily run errands, knew where places were - and how to get to them quickly.

There was one fabulously Film School moment, when I was chatting with one of the students as we were finishing for the day, asking him what he was up to that evening.

"Oh, just going to throw on some Kurosawa, you know."

Film School Students. They just don't help themselves, do they?

Saturday, July 31, 2010

July movie playlist

- The Outlaw Josey Wales
- Where The Wild Things Are
- Paranormal Activity
- Amelie
- The Crow (PCC)
- Teeth
- Torso
- Frozen
- Transamerica
- Deliverance
- Inception
- Shogun Assassin
- Kill Bill 2
- Beautiful Losers
- Delicatessen
- Frogs
- Thumbsucker
- Rebel Without A Cause
- Color Me Blood Red
- Sid & Nancy
- The Prestige
- Pale Rider
- Morvern Callar
- Toy Story 3
- Crank
- Paprika
- Eaten Alive (Umberto Lenzi)
- Undertow
- Mega Shark vs Giant Octopus
- The Empire Strikes Back
- Bitch Slap
- Return Of The Jedi
- Pulp Fiction
- City Of The Living Dead
- Dead Man
- El Mariachi
- Kill Bill 1 & half of Enter The Dragon (Somerset House Summer Screen series. We got a bit chilly at 12:30am and left before the movie ended)

Saturday, July 17, 2010

Monday, July 12, 2010

adventures in production running

Currently doing four days production running for a TV show in its preproduction stages. We rotate positions daily, and today I was in the camera room, assisting the Shooting Director, logging tapes, and holding the boom when we were recording interviews.

The room we were in is on the 8th floor of an office block in central London, with pretty great views. It was quite late in the day, I was holding the boom while we were recording, just zoning out as I'd heard the questions quite a few times before, staring blankly at the high rise hotel a block away. A movement in the top floor window caught my eye.

I wish it hadn't.

A fat naked man was parading back and forth in front of the massive penthouse picture windows. The first time it happened I was like "oh gosh", and tried to look away. And then he just kept on walking back and forth, not realising obviously that though he was high up and thought he was away from prying eyes, there were inhabited high rises around too. After about the fifth time of him walking past the window, pale flabby belly jiggling up and down, I had a bad case of the giggles - but with camera and sound rolling, and the SD interviewing some poor applicant, I couldn't do anything about it. I was biting my tongue so hard, trying not to shake so the sound wouldn't be distorted, forced myself to look away until I could calm down.

Eventually he drew the curtains and I got myself back under control. But talk about unfortunate circumstances. As I walked the applicant out I apologised and told him what I'd seen, in case he thought my suppressed giggles were anything to do with him, but luckily he didn't even seem to have noticed as I was facing away from him.

My fellow runner based in the room opposite eagerly asked if he had a "hot bod" when I told her. Alas, if only. Might have made the 14 hour day with one ten minute break slightly more interesting. Ahh, production running...

Wednesday, July 7, 2010

one of those the-internet-makes-the-world-a-small-place moments

So way back at the beginning of this project, at our first meeting (as detailed in the first blog post), a guy sitting next to us in Chiswick Brasserie overheard parts of our conversation:

"The table next to us starts to pack up to leave; one of the men turns to us and tells us there really is some good stuff at the LIFF we should check out. Turns out he's a film reviewer at viewlondon, overheard our conversation. Starts talking to us about filmmaking, picking up on Cici's lack of experience over my (admittedly limited) knowledge. He wishes us luck though; Cici hollers "you'll be reviewing our films in a year or two's time!" after him as he leaves. Probably serves us right for having this meeting at an offshoot of Soho house."

And that's the end of that, I thought. We wrote and planned and auditioned and filmed and edited and that very first meeting was half forgotten in the haze of everything else we were up to.

Then maybe a month ago, I noticed one of my twitter pals mentioning he was going for brunch at Chiswick Brasserie. Intrigued in that way you are when random internet friends you've never met go to the same places you do, I checked out his profile and saw he was a film reviewer. For Viewlondon. Too much coincidence.

I direct message him, asking if, by any chance, and if he remembers, he might be the person I referred to in the first blog post.

FilmFan1971
Yes! Of course I remember. God, I love Twitter. Did you see much LFF stuff in the end?


Hilarious. We were each following each other this whole time without even realising it. I think I'd followed him for purely filmic reasons (not sure about his reasons). What a strange small world. (Oh, and the answer is no, I didn't see anything at the London Film Festival in the end).

We struck up an email correspondence (mostly about film) (we are nerds), and he offered me his +1 for a press screening of Adam Green's Frozen this evening - which, I am glad to say, totally ruled.

Love the internet sometimes.

Wednesday, June 30, 2010

June movie playlist

  • H6: Diary of a Serial Killer
  • High Noon (BFI)
  • Bullitt
  • Once Upon A Time In America
  • Killer Nun
  • Midnight Movies
  • Shock (Beyond The Door 2)
  • The Killer Inside Me
  • Buckaroo Banzai
  • Hatchet For The Honeymoon
  • Valley Of The Dolls
  • Assault (1971)
  • Two Evil Eyes
  • Body Count
  • Grace
  • El Topo
  • Silent Night Bloody Night
  • True Stories
  • The Hills Run Red
  • The Good, The Bad, The Weird
  • Kill Bill
  • Dance Of The Dead
  • Bright Star
  • The Vanishing
  • The Decline Of Western Civilization

Thursday, June 10, 2010

favourite celluloid moments

Got this film stuck in my head this morning for some reason. Dragged my friend James to come see it at the PCC a while ago, in an epic double bill with American Werewolf. He'd never seen it before and his reactions to this scene were brilliant.

John Carpenter, Kurt Russell... I love you.


Wednesday, June 9, 2010

keep on keepin' on

So you know what? Today was a tough day. I woke at 4:45am and couldn't get back to sleep for ages, finally did then slept through my alarm. Great start. The shit is really hitting the fan at work causing lots of worried faces; I'm out of a job anyway two weeks today with nothing lined up and nothing in sight, the job market fucking sucks ass right now, and I have rent and bills to pay that I don't how long I'm going to be able to afford. It'd be safe to say my mood was a bit of a downer for the best part of the day.

We went to see The Killer Inside Me after work. I'm a fan of Michael Winterbottom; I think he's an inventive and brave filmmaker (not to mention pretty prolific) and I'll always give his films a chance. Plus, 24 Hour Party People is pretty great. I definitely dug The Killer Inside Me. Great visual style, great soundtrack - incredible performances. Yes, there was some pretty brutal violence, but it was in character, not for shock tactics. Though the audience drove me nuts (talking and making out loudly, rustling snacks, laughing at inappropriate moments), I left the cinema feeling a little better about things - good films always inspire - and walked home.

It was while procrastinating from writing that I had a look at Adam Green's Formspring, read some of the recent Q&As. Decided to post one myself, after a day like today.

My question was:
How did you stay motivated and upbeat when you were just starting out? Sometimes I look ahead and the uphill struggle seems immense, and when there are bills to pay and people close to you not necessarily supporting what you’re trying to do, it can be kind of painful. I’m not about to give up but how did you get through the early rough patches?

Of course genius here didn't notice there was a character limit for questions so the last part got cut off, but he was still kind of enough to answer:

"Because you have to know deep down that it's this or nothing. You have to be able to find the comedy in being down and out and try to embrace the struggle and learn from it. The hard part is that I've seen so many struggle and NOT make it. The odds are against you. But if deep down you know that you really HAVE it and don't just really WANT TO HAVE it... you gotta keep going until there is just no other option. I ate out of the trash at one point and during those awful times I definitely thought about trying to find another dream. But it just didn't happen and I kept fighting and fighting. But find solace in your work. Write it out. Shoot to feel better. Don't let the world's negativity get you down or disenchant you. As you can see from the guy who asked a question below you [which was: “When everyone else here is done sucking your cock, can I suck it to get cast in a movie?”] - there are a lot of assholes out there who feel entitled or who just want to be douchebags because they are frustrated. Zone that all out and stay positive- even in times of duress. Chin up!"

And you know what? The pep talk worked.

A couple minutes later a text came through from the editor - all looking good, we've more or less got a final cut, and she'll send it down on the weekend. Then I opened my current major writing project and managed to spill out about 5 pages in 20 minutes.

Everything Adam said in his response I'm aware of - this really is it for me. It's all I've ever wanted, and for too long and for too many reasons it was out of my grasp, but now it feels so much nearer and if I just keep on, it could be there. I can find the comedy in having to couch surf and eating Tesco Value baked beans or inviting myself back to my parents' for dinner too regularly, if necessary. And I know the odds are against me. Always have been. But it's a risk worth taking. I have no other dream. I don't think I could at this point. How can you trash something you've wanted for so long, just because it seemed too hard? Creativity has always been my solace, as I'm sure it is for many others, and perhaps I should look at this impending period of no (paid) work as a chance to really focus on writing and filmmaking (second short is already in early preproduction) while jobhunting at the same time. Unfortunately it's not always so easy to not let the world's negativity get you down - have you seen the state of this planet at the moment? - but by focusing on the smaller things, the things you can work at and change, it's possible to stay positive, and keep that chin up.

As another wise New Englander (hey Chris Hall, I'm looking at you) once said to me, Keep On Keepin' On.

Monday, June 7, 2010

Monday, May 31, 2010

May movie playlist

- Nobody Knows
- Iron Man 2
- Iron Man
- Lost In Translation
- Kick Ass
- Shaun of the Dead
- True Grit
- Charade
- An Education
- House (1977, Japan)
- Deathproof
- House. Again. Because it requires more than one viewing.
- Fright Night
- Hatchet
- Trick R Treat
- The Man Who Fell To Earth
- Spiral
- Night Of The Demons
- Just Friends
- Following
- Big Trouble In Little China

Friday, May 14, 2010

yikes

Fascinating/depressing look at the genesis of the new Robin Hood film over at William Martell's blog. Must read. And then weep.

Sunday, May 9, 2010

editing, part 1

After months of painful waiting, the editor's computer + Avid is finally back up and running, and she has the rushes in her possession. It's all systems go.

I drag my sister along for the roadtrip up to Birmingham, where the editor, Annie, is based, with the intention of getting a rough cut done. We take our roadtrips seriously. More time is spent planning playlists and snacks than actually making sure we know how to get there.

Snacks:- peanut M&Ms, flying saucers, fizzy laces, Rainbow Drops, cookies, tortilla chips, Diet Coke and water. Healthy.

Music on the way there:- American Graffiti soundtrack, Elvis, RHCP, Journey, Joan Jett, Jefferson Starship, Kiss, Queen. We like things we can play loud and sing (and dance) along to.

About as soon as we hit the M40, it starts to drizzle, and it seems like the grey clouds follow us up the motorway. The weather gets progressively worse the nearer we get to Birmingham and right as we're about to switch drivers it's raining so hard the surface spray is like a dense mist and visibility is appalling. I happily hand over the wheel to Fi.

Still raining, though visibility slightly better, we're driving along, Fi with only one hand on the wheel (the roads are relatively empty). It's a bad habit of hers and I tell her in this weather she should have both hands on it. Man am I glad I did. About two seconds later, we have to burn rubber breaking and swerving (and, she says, the car went into a skid on the wet roads, but being in the passenger seat I didn't feel it and she obviously caught it in time) to avoid - don't laugh - a mother duck and six little ducklings trying to cross the six-lane motorway. Ducks clearly not the smartest animals on the block.

We eventually get there about 3ish, and find the editing set up in the room at the top of the house. The tapes have all been digitised, so away we go. It's funny, I haven't seen the rushes in months but it all comes back very quickly. I've got my camera/rushes notes and we slowly work our way through the scenes, putting together a very rough cut. There's a lot of work to still be done - many cutaways, sound tweaking, sound effects and music to be added, to make it anywhere near presentable - but it's a start. And it makes me feel better about the project. It's just been sitting stagnant since the middle of February and the continued editing obstacles have become so frustrating it's been hard at times to maintain the enthusiasm I originally had for it. But finally getting this rough cut together makes me feel like I'm back in the game, and I leave feeling much better about everything.

With the prospect of another two and a half hour drive in front of us we leave by 7 or so, not wanting to stay too late. The journey back is better - the weather holds and the roads are hauntingly empty. We bomb it back with only one bathroom break. Our music choices become more mellow - a little Radiohead, a little Grizzly Bear, some Slow Club. We get back into town and I buy us pizza for dinner (just to round off the incredibly healthy diet of the day) and we collapse at mine for a while, all roadtripped out but looking forward to the next step in the process.

the road home
the road home

Friday, April 30, 2010

April movie playlist

- Manhattan Baby
- I Was A Male War Bride
- Farenheit 451
- What’s Up Doc?
- Velvet Goldmine
- Grindhouse (Planet Terror/Deathproof) (PCC)
- Faster Pussycat Kill Kill (PCC)
- House of the Devil
- Hidden Fortress
- The Blob (OFC)
- Things Behind The Sun
- Friday 13th
- Whip It
- 10 Things I Hate About You
- Fade To Black
- Them (Ils)
- Death Wish 3
- Suspiria
- Sleepaway Camp
- Somersault
- Cabaret
- Brick
- Hannah Takes The Stairs
- The Science Of Sleep
- Drugstore Cowboy
- Exit Through The Gift Shop
- Darling
- Beautiful Girls
- Fine. Totally Fine.
- The Conversation
- One Eyed Jacks
- Unforgiven
- La danse - Le ballet de l'Opéra de Paris
- Infernal Affairs
- Survive Style 5+
- Hot Fuzz

Sunday, April 4, 2010

another zombocalypse

More odd, vivid and rather horrible dreams after more bouts of insomnia. Might actually lose the plot sometime soon if things go on like this.

It's another zombie dream. I'm trapped in another zombocalypse, in a small house or apartment that feels like it's somewhere in the French countryside - it's that kind of architecture, the stonework, the long windows, the wooden shutters/blinds, the doors that look about 100 years old - and we're trying to barricade the doors and windows. There's this one really persistent zombie - he looks quite familiar but I can't place who he is (neither in the dream or now in reality) - and, thinking about it, he didn't even look that zombiefied compared to some of the other characters. I end up having to kill him; whacking him round the head with a hard metal wrench but I obviously don't have enough strength to actually kill. He has a horrible dent in the side of his head that quickly grows bloody, he falls to the ground making noises like he's being strangled, eyes filling with blood, but he's still alive and trying to grab on to something, so have to keep hitting him and hitting him till he falls still.

Then we're outside and there's just zombies everywhere, and we're trying to escape through them and into the woods - there's an old air raid shelter I can see as well, that I think we could aim for to hide out in but then - well, then I wake up.

Wednesday, March 31, 2010

March movie playlist

- The Seven Samurai
- The Magnificent Seven
- Lawn Dogs
- Marebito
- 2000 Maniacs
- The Quick & The Dead
- The Omen
- Close Encounters Of The Third Kind (PCC)
- Last House On The Left (1972)
- Ratcatcher
- The Hurt Locker
- The Big Lebowski
- The Brave One
- Moon (Jameson Cult Film)
- Outland
- Starship Troopers
- No Country For Old Men
- Footprints (Le Orme)
- Night Train Murders
- Zombieland
- Rio Bravo
- Shutter Island
- The Living & The Dead
- They Live (OFC)
- David Holzman’s Diary
- Hairspray (John Waters, at BFI)
- True Romance
- Cabin Fever
- Things Behind The Sun
- The House Of The Devil

Wednesday, March 17, 2010

nightmare

Holy smokes. Sleep has been kind of fucked this year - baaaaad insomnia coupled with painfully vivid (and often scary) dreams - but, blimey. That was interesting. Usually if I wake from a bad dream there's that moment or two when you're still not quite awake when it stays with you, then I'm back to reality and able to review the dream with some interest, attempt to analyse where the hell bits of it came from. But that was a heart-pounding, sweat-drenched full on nightmare. The kind where I've actually had to make myself get up, turn on the light, get out of bed and do other things to take my mind off it.

So, the story. It's already starting to fade and is losing its coherence, but here's what I've got:

We're on a housing estate that brings to mind the Barbican or the Brunswick Centre - i.e. architecturally unusual (and seeing as I live 30 seconds away from the Brunswick Centre, it's not that odd that it should appear in a dream). There's a group of thuggish boys - I recall someone next to me wearing a black hoodie with the hood up, and feeling quite intimidated by it - standing in a group, talking (planning? plotting?), and I'm somehow mixed up with them, but I'm not sure whether I'm there voluntarily, or perhaps am just an omniscient (and invisible) viewer as can sometimes happen in dreams.

There's an overriding feeling of terror, torture and intimidation. There's something to do with chainsaws - one moment of light relief as one of the bad guys, revving chainsaw in hand, comments to his victim "You're a Republican? Vvvvrrrrrrrrrrrrrrrrrrrrrrr [insert own chainsaw noise, if preferred]".

Then somehow I've escaped the situation along with a partner (a boyfriend, I think). We're hiding in some kind of barn or garage or outhouse type building, and there's a pile of dead bodies and sacks. I'm trying to see if I can see where the bad people are; go back to check on the boyfriend and realise he's dead - just then the doors get pulled open and I get a glimpse of some of the people we've been with before - friends or acquaintances, people we thought we could trust - before a Guantanamo-style hood is pulled over my head and my hands are roughly tied behind my back and I'm dragged off, hearing someone whisper roughly "Take the money and run..."

Which is when I wake up, heart thumping; the betrayal of trust, the hood, the intimidation and the knowledge of impending torture/death feeling like they're strangling me and for a moment I'm scared to even reach out of bed to turn on the light.

Good times.

Monday, March 8, 2010

to coincide nicely with International Women's Day

Kathryn Bigelow won Best Director last night at the Oscars. Just amazing.

There has naturally been a ton of coverage about it, but I think this is one of my favourite moments, from W&H's Women Directors React To The Win piece:

"Kathryn was a role model and inspiration several years before I directed my first movie. And after I first met her, she became a warm beacon and comrade and big sister. Now, with this Oscar, and the DGA win, she restored all the dreams I didn’t even realize I had allowed to get sidetracked over the years. My happiness for her is complete, because she worked so very hard for it. She never whined, even though she is privately well aware of our struggle as women in the industry. She never became a victim, she did her best, always.

What has been incredible to me about Kathryn’s Oscar win is that women who are not even filmmakers, not in the industry at all, feel her victory is one for all of us. And true to her nature, I knew she would not acknowledge her gender in her acceptance speech, but it was there, she was fully aware of how momentous her win was for all of us. I love her and could not be happier for her. And for every little girl and old girl who was watching with that same dream."
Allison Anders

Sunday, February 28, 2010

February movie playlist

- The Assassination of Jesse James
- The Good The Bad and The Ugly
- Inglourious Basterds
- Fish Tank
- JSA
- In Bruges
- Saturday Night and Sunday Morning
- American Graffiti
- Hostel 2
- Predator (PCC double bill)
- Aliens (PCC double bill)
- Audition
- Salem’s Lot
- Bicycle Thieves
- The Searchers
- Star Trek
- Thelma & Louise
- Weird Science
- The Wild Bunch
- Shivers
- Don’t Go In The Woods Alone
- Dancer In The Dark
- Videodrome
- Last House On The Left (2009)
- Lady Vengeance

Friday, February 19, 2010

female filmmakers

"With only three shorts and two features to her name, British writer-director Andrea Arnold is firmly established as an exciting talent to watch, thanks in part to an impressive track record of prestigious international awards for her low-budget observational dramas."

read full article here:

The Globe & Mail, Feb.17

Wednesday, February 10, 2010

Jeff Vader

During one lull in filming - I can't remember if we were just taking a break or resetting - Freddie started in on the Death Star canteen routine (as below, helpfully illustrated with Lego men), which of course just caused another total spate of giggles. Had to post it here.

Sunday, February 7, 2010

shoot day #2

Surprise surprise, get very little sleep. Brain just refuses to switch off, though body feels dead tired. We're up early as the location we're shooting in this morning (an off-licence on North End Road) we only have access to between 8am - 10:30am.

We get to Cici's flat and she and I immediately run down to the off-licence to say hi and we're on our way. Camera and sound arrive shortly after and we start setting up. You would think, being 8am-ish on a Sunday morning, that an off-licence would be dead (I mean, he opened up especially early for us). You would be wrong however. The people of North End Road clearly like their booze and fags to start early on the weekend. We get people wandering into the shop while we're setting up, giving us slightly odd, confused looks at all the kit.

Freddie and Dewi arrive at the shop and we block this scene for the first set up. Run it through a couple times, the takes getting better as they get warmed up. There's an unfortunate amount of background noise due the fridge hum, but I don't think the owner would take kindly to us shutting off the fridges, so there's not much we can do about it at this point.

too chipper for that time of morning
Laura & Cici, looking, frankly, way too chipper for that time of morning.

We do a few takes with the first set up, then some over the shoulder shots of the boys at the shop counter. The tripod, which was annoying Cara yesterday, today becomes the bain of our lives - "I hate this fucking tripod!" becomes a frequent refrain of the shoot, as it wobbles, refuses to hold the camera steady (indeed at one point the camera, a Sony PD170, falls off the tripod. I hold my breath - we're not insured, it's a borrowed camera - but it miraculously escapes the fall unscathed. God bless hardy Sony equipment). Get some good close ups of Chris, who's playing the clerk. He's hilarious; every time I cut his take I get the giggles.

i'm sure i'm imparting words of wisdom
Chris playing the clerk, and me. Or should that be I?

We then flip the camera behind the counter and do some Clerk's POV shots. Our first take is interrupted by a woman walking into the shop for cigarettes. It's not even 9:30, she's carrying McDonalds take out and wants smokes. Gross. She's bamboozled by the set up but wishes us luck as she leaves. We go again; this time Freddie picks up a pack of condoms at the counter instead of the gum as with previous takes, and once again I'm laughing as soon as I yell cut. We do a couple of pick ups with Freddie and Dewi and then they're wrapped for that scene. They go back to base for breakfast and napping on the sofa, and Alex steps in.

While the cam is still behind the counter we do his entering-the-shop scenes. Gareth has come down to the shop as well, slightly bored of sitting in the flat, so he helps with the falling-out-of-frame shots (when the character is supposed to have been shot) by violently pulling Alex out of frame - and two out of three times they crash loudly into the fridges. I'm wincing at the thought of any breakages but we're lucky and it's all okay.

My dad has been roped in to play the clerk's dad (to the amusement of the rest of the family) and I've told (asked politely?) for them to be there at 9:45 as we're so limited on time. My parents have been away for the weekend and have actually rearranged their plans to make sure they can come back for this, which is sweet of them (and unexpected). So my dad, Bruce, turns up and we Clerk him up - mess up the hair, roll up the shirt sleeves so the tattoo is visible, take off the glasses, put on some horrible jewellery. Attempt to make him get into character. He hangs around off screen for a couple of takes while he's not needed, then we bring the camera back out from the counter onto the floor and it's his moment of glory.

Ish.

For someone who is usually so outgoing - one of those people that will just chat to *anyone*. Knows most of the people on their road from just stopping to say hi, never a quiet one at parties. You know the sort - he's strangely self-conscious and it's quite frustrating, after spending the previous day and few hours with professionals, to get him to actually ACT. It probably doesn't help that with him being my father I'm perhaps less patient than I would be with someone I don't know. But I'm tired and haven't yet had my coffee...

Chris teaches him some Romanian words to say as he's supposed to yell at Alex, so we get a few takes with him doing this. We give him the gun and try (and try, and try again...) to get him to hold it correctly and act as if he's actually just fired it.

We're starting to run out of time - I can see the shop owner looking at the clock and Cici is getting antsy about us wrapping this location as soon as possible. I'm not getting what I need from Bruce as the clerk's dad and it's getting really frustrating (note to self: don't put family members in front of the camera again, even if it seems like it's for the tiniest role). We try a few more pick ups and it seems like hopefully there's a few we can work with, but we're out of time so I wrap the off-licence and set everyone back to base. Cici and I stay a couple minutes more to make sure we haven't left the shop in disarray, that we have everything with us, and to say effusive thank yous to the shop owner.

Back at base, I down a coffee, attempt to find some food. We take a short break, then get back in the living room. Only minor adjustments have to be made as we left everything set up from the day before. The takes go much better now - having been working together for a whole day, the boys have had a chance to gel and the camaraderie is more apparent, which is great. We finish all the set ups with the camera based in one corner of the room, do a couple of takes handheld, then break for lunch.

We leave the boys in the kitchen to reset the living room - moving the camera and lights also means moving all the furniture around as well, which is quite a task. We're keeping to schedule a lot better today, which is good. I pretend not to notice that a crew member or two occasionally sneaks off to the bedroom next door for a lie-down (what I wouldn't give for that right now!)

We shoot all the reverse angles and some mirror shots, and then do some more handhelds and then finally the magic words are uttered "-and this take is the martini." Everyone is definitely flagging at this point but gives it their all for this one last take and then I get to utter those great closing words:

"Thanks guys, that's a picture wrap!"

Cheers, hugs, collapsing on the sofa etc etc. Dewi has to rush straight off so I get him his travel expenses and thank him again. While most of the crew work on straightening out the living room, the actors hang out in the kitchen again. It takes about half an hour to demolish any sign that we've been shooting there this weekend - black bags off the windows, furniture back in its correct place, kit all packed up - and then we head for a well-deserved drink down the pub.

It's been such a great weekend and I've been so lucky to work these people - the amazing crew who were always on it (didn't even accept any subsistence expenses, they were just happy to be there), the brilliant actors who were so willing to hang about in the cold so we could make sure we got everything we needed. Everyone has gotten along brilliantly as well, which really helps. The first round of drinks is on us, of course, but I can't stay too much longer as we have to drive the kit back to New Cross (the other side of London).

Fi, Cara and I load up the car with everything and head out ... right as the Chelsea-Arsenal game is letting out too. Traffic is horrible and tempers flare between my sister and I. Cara sits quietly in the back, politely ignoring our sibling bickering. We do eventually manage to get out of the post-game crush and start talking like civilised humans again. We drop Cara off at her house, then head back up to central and North London.

I get back to my place and sit down, staring at the clapperboard that's now sat on the floor with the other crap I've just left there.

Playtime's Over. A Doll Parts Production. Director: Hannah Duncan.

Squeeeeeee!

Saturday, February 6, 2010

shoot day #1

Not massive amounts of sleep. Pack up stuff I need for the weekend and head on down to Earls Court. Have a quick coffee, Cici and I sort out the kitchen, making it basically the green room for the shoot. Seems Laura and Fi have gotten a little lost on their way to pick up Cara and the kit in New Cross, so the tech crew are now running at least an hour late. Not going to panic. Deep breaths. Be constructive...

setting the scene...

I go on a recce of the area to figure out where we can shoot the exterior scenes later, then Cici and I clear out the living room and start taping bin bags over the window to black it out. In the middle of doing this, Fi, Laura, Cara and her friend Nadia who's come to help with sound turn up, along with camera and a lot of kit. We finish the windows, Cara and Nadia start setting up the lights. The first of the cast arrives; Fi and Laura keep the boys entertained in the kitchen until Fi has to go and move the car (damn parking restrictions) so I take the boys outside and we start blocking the exterior scene we'll be shooting a little later, and working out how to choreograph the punch.

Eventually we're all set up and ready to roll (about two hours later than planned...) We call the boys in, have a quick run through, make sure they know their marks and what we're doing. Everyone's in place. Camera's rolling. Sound's a-go-go. Quiet on set is called for.

And then I get to say it.

"Action!"

And we're off.

freddie


We get through eight set-ups and a number of takes for the first scene, until someone hits a breaking point (cabin fever setting in; with that many people and that much kit suddenly the front room is rather crowded) and the boys all start corpsing. It luckily coincides with the sun setting, so we break from shooting the first interior scene, leave the lighting set up as is, and move on out.

We shoot the first exterior - just the boys walking - on our way to the main location, on a side street. We get a fair few odd looks from passersby and a couple of cars slowing down to check out what we're doing. We have a PA at one end of the road and the Associate Producer at the other end on car duty - literally hollering "CAR!" any time one decides to turn our way, so we can clear off the street. We do a few takes with different set ups so we have the options, then move round to the place I scouted earlier in the day.

Of course, when I scouted it I cleverly forgot about the lighting issue. Lady Luck is with us, however, and the place I found - a small road that dead-ends in a warehouse with a scrappy car park down the side, which is the main area I want to use - has a security light that blinks on as soon as we're about 20 feet away from it, giving us amazing chiaroscuro lighting. Couldn't have worked out better.

outside

We do the basic set-ups: a wide shot, a medium shot, a cowboy 2-shot of two characters, then the same set-up for the other two. We try some handhelds, some with the camera running in with the boys.

It's cold. It's the first weekend of February in London. Of course it's cold.

The crew are bundled up in as many layers as possible. The actors are standing around in white shirts and thin black suit jackets. I'm aware how long we're spending out here and how fucking cold they're getting. Alex is jumping around to keep warm right up until the point I call "action". If they're not in frame, they immediately put their coats back on.

During a break to reset the camera, I send Fi and Cici off to find a coffee shop to get warm drinks. We start re-filming and I forget they're not back until two takes later when we're suddenly wandering where the hell they've got to. And then like angels they appear, bearing trays laden with cups of tea and KitKats. Overjoyed to see them would be an understatment. No coffee shops were open in the area so they ran back to the flat and made enough tea for everyone.

the moment fi became our best friend:

Everyone's spirits are lifted by hot drinks and the sugar rush, and we get through the last handheld scenes with everyone holding it together. The boys are total champs and despite my worrying that they're all going to come down with pneumonia after the weekend and please let me know when it gets too much out here, they want to soldier on and get all the shots done as we're there. I love them for this.

playtime's over

We finish the main exterior scene and start heading back to base. Fi and Cici run ahead with the cups, while we use the journey back to shoot the last exterior night scene we need, which is just of the boys running (keeps them warm at least...). We have to circle dog shit on the road with chalk to make the boys don't accidentally run through it. Ahh, it's a glamorous life, this filmmaking lark...

We get what we need and hurry back on inside. Everyone collapses in the warmth for another cuppa, as our trusty PA continues to wash up and boil the kettle (bless her socks). I run through with Cara and Cici the plans for the next day. Eventually everyone disperses - it's been a looong day and we all have homes to get to. Fi and I are staying at our parents' place in West London as it's much nearer than either of our places. Laura comes with, and we give Alex a lift too as his sister lives nearby. It's almost 11pm by the time we roll into the house, and I'm exhausted but buzzing. Can't wait to do it again tomorrow, if only the call time weren't so early...

Friday, February 5, 2010

the day before the shoot

Feels like I didn't sleep at all last night, though I'm sure I must have passed out for an hour or two eventually. So that's nice.

I have the morning off work at least, so have a minimal lie in, then get up and get on it. In between typing up camera notes, making sure everyone knows call times, and chain-drinking coffee, I send an email to the police department just to let them know we'll be shooting a fake hold up with a fake gun. I get an almost immediate response telling me they're very worried about this and more or less don't give us permission. F.u.c.k. Try to remain calm, continue with my work until I get a call from a copper who deals with the area we'll be filming in. His main concern is that on the Sunday, when the hold up scenes are scheduled to be shot, there's a big football match (Arsenal v Chelsea) on, and we're only about 500 yards from the Chelsea ground where it's being played. I'm fully aware of this; indeed, we've been scheduling everything around it as the production base is within walking distance of the pitch so we don't want all the extra noise that a big London derby football game will involve. Somehow manage to get through the conversation until the policeman-officer finishes with "Well Hannah, you've put my mind at rest." Music to my ears. We'll get no trouble from the feds for shooting with a fake gun at 8am on a Sunday morning.

Despite this one small hiccup, everything else seems to be fine; no real nerves just ridiculous tiredness from lack of sleep... until just gone 5pm when I get a call from Cara, our camera person, who's basically in charge of all things technical.

"So I went to pick up the kit and there were no radio mics or shotgun mics... we've got a boom pole though... Oh.. umm and there was only a Handycam left. I've got it - I'm going to see if I can locate another camera, asking around friends-"

My brain starts to fuzz over with panic. Have put too much time and energy into this to have to shoot on a bloody Handycam. If that's all we've got I'm tempted to postpone until we can get better. Decide not to have a massive meltdown and focus on the part I can fix - the sound. Leaving Cara to sort out the camera situation, I send frantic emails to Laura to see if her prodco have any radio or shotgun mics, then start searching online for the nearest rental place. Talk to a guy at a place up near Warren Street - who, it now being about 5:20pm, are about to shut, but he kindly points me to Central Rentals, who are just round the corner from us on Newman Street and, more importantly, open till 6pm. Give them a call (the guy on the other end is almost laughing at my panic), get a shotgun mic hired for a princely £20 for the weekend, which is pretty good. Run round there and pick it up, then come back and end up stuck at my desk till almost 8, sorting out shot lists and contact sheets and other paperwork which we need tomorrow.

Get home and still haven't heard from Cara. Talk to Cici and explain the situation, then crack open a bottle of wine - at this point it seems like the only solution - and try to calm down and watch Fish Tank. Mini eggs also help, not gonna lie. Cici calls back after a while - Cara's found a good (better than a handycam at least) camera. Breathe a massive sigh of relief and finish watching the film. So great. God bless Andrea Arnold.

Thursday, February 4, 2010

Feel a little better and make it into work. Venture over to Soho at lunch to pick up a clapperboard and DV tapes from Stanley Productions on Wardour Street - which just happens to be right next door to Hummingbird Bakery. The line is too long however, so I sadly give the cupcakes a miss (probably a good thing).

Decide ahead of time not to go to class tonight - doesn't seem worth the risk, as can't imagine sitting in a cold damp basement for three hours will help much with the cold. Fi comes and picks me up about 7 and we drive over to Earls Court and ravage Tescos for food for the shoot, which is probably going to cost the bulk of our non-existent budget. Try to keep it balanced - yes we have cans of soda and mini Milky Ways, but there's also pitta and dips and salad. Hope what we've got will be enough and satisfy all comers. Drop it all off at Cici's house, have a quick run through of everything we need for the weekend then head home for a not-so-early night when I discover insomnia has come calling.

Wednesday, February 3, 2010

female filmmakers

Hurrah for Kathryn Bigelow winning the DGA Award over the weekend!

Kathryn Bigelow on, essentially, enough with the female-director talk:

"I long personally for the day when that modifier [women director] is a moot point. I anticipate that day will come. I think we’re close. If 'The Hurt Locker' or the attention that it’s getting can make the impossible seem possible to somebody, it’s pretty overwhelming and gratifying. At least we’re heading in the right direction."

LA Times, 2nd Feb.
So the sickness takes over and confines me (mostly) to bed for the day. Worst time ever to get sick. Mope around feeling sorry for myself and watching cowboy films.

Tuesday, February 2, 2010

I am not getting sick. No no no. Illness is unacceptable. You hear that immune system? NOT. SICK.


Cough. Splutter. Sneeze.


Bah.

Monday, February 1, 2010

rehearsal

Finally manage to get everyone in one place at the same time for a good read through and rehearsal. It's great to be able to just sit back and actually listen to the piece and watch the actors, instead of having to follow the script and read a part as I've had to for the auditions. We talk about the characters - I'm more than happy for the actors to adapt the language to their character (such as dropping the word "bruv", which sounds unnatural in Freddie's scouse accent); I don't think we need to stick super rigidly to the script. The more we run through it, the more comfortable the boys become in their roles and with each other - we're still using scripts so we never quite reach that level of banter and talking over each other that we're aiming for, but I think by the time cameras roll we'll have it.
We also manage to block some of the first scene, as we'll be filming it in Cici's living room which is where we're rehearsing, and it's useful to get an idea of how everyone fits into the not-very-large space. When we've got lights and a camera in there, and wires trailing everywhere, it'll be cosy...

Sunday, January 31, 2010

January movie playlist

  • The Sting
  • Deathproof
  • The Girl In The Park
  • Cinema Paradiso
  • Ichi The Killer
  • The Thing
  • Hansel & Gretel
  • It Happened One Night
  • Rec.
  • 30 Days Of Night (though turned it off after less than half an hour – which is rare for me – because I was disliking it so much)
  • Gone With The Wind
  • A Bout De Souffle (PCC)
  • Daybreakers
  • Driller Killer
  • Bande A Part
  • Xanadu
  • Three Extremes
  • Gozu
  • The Funhouse
  • Reservoir Dogs
  • Sukiyaki Western Django
  • Fudoh – The New Generation
  • Rio Bravo
  • Phenomena
  • Run Fatboy Run

Saturday, January 30, 2010

Friday, January 22, 2010

auditions, part 3

So the guy we've been counting on to be our Pinky - the lead character, basically - keeps faffing around and then more or less drops out. We're up shit creek - our own fault for putting all our eggs in one basket, and we know it, but it still doesn't help.

I make the mistake, during our panicked conversation, of mentioning to Cici that Simon Bird (who is ideal Pinky material) is currently working/based in my office, just a few feet away from me. She begs me to ask him to be in it. Properly begs. I laugh her off, don't even consider it. "What have you got to lose?!" she counters. My pride, dignity and possibly my job? "Oh, we can build them right back up again, it's fine!" Of course I wouldn't even dream of it, but then do get the giggles when I run into him in the kitchen. He doesn't know how close he's come to Cici trying to storm the building and confront him.

Anyhow. Friday evening, many complications and location changes later, we end up holding what we hope are our final auditions in Le Pain Quotidien in Notting Hill Gate. No, it's not exactly an ideal audition location. Yes, we were at our wit's end. It's a pretty grim Friday evening after a verrrrry l o n g week. Cici and I both get a large glass of wine (seriously, it's that kind of day) and run through a couple of business things before the first guy turns up. He's very sweet but not quite right for the part. I'm starting to panic a little. If this last guy doesn't get it either, it's totally back to the drawing board, and possibly rescheduling the shoot. He's been househunting and is running super late but turns up, sits down - and nails it. Like, pitch fucking perfect. I know it, Cici knows it. This is our Pinky. We check his availability and try not to smother him with affection, but as soon as he's left Cici grabs me, beaming.

The evening has been saved. The shoot has been saved. We cut it close but we're now fully cast. AMAZING.

Thursday, January 21, 2010

First class this evening of the Raindance Director's Foundation Certificate. Decided right before Christmas to do it as it's not super expensive and I think it'll give me a little more confidence with this film. Forget to double check the address before I leave work so have to make a guess as to which door it is (I do at least remember the street). We're down in a basement rehearsal room - and the class is much bigger than I expected. The last evening class I took was the Euroscript script editing one over a year ago, and before that it was script reading, both of which have a class size of about 10. There are more like 40 people or something here, which takes me by surprise. I sit quietly to the side (wallflower? me?), watching people: the dominant personalities come to the forefront very quickly. We spend the class analysing introduction scenes from Thelma & Louise and Brazil, breaking down the characters and coming up with backstory from what's implied in their descriptions. Very interesting.

Walk home from class, running things over in my head. Hard to tell from one session how much it's going to be worth. Get home and have catch up phone call with Cici about auditions and the like; round off the night with The Funhouse, which is a totally different film than I imagined it would be.

favourite celluloid moments

Have had this film on my mind all week. If you haven't seen it, this scene definitely contains spoilers. Takashi Miike's "Audition":

Tuesday, January 19, 2010

auditions, part 2

I take a half day as some auditionees can't do evening audition slots. Cici can't take the time off work so newly-promoted Associate Producer Laura comes along as well. The schedule for today is meant to be busy - a bunch between 3:30 - 5, then a couple between 7 - 7:45, then Cici and I are meeting Cara, the camera operator, for a big tech meeting.

Of course it doesn't go to plan - a couple of bails and a couple more no-shows - and we end up only seeing two auditions all day. Luckily we both know after seeing them that they're right for the parts, and the rest of the time we chat about the project, I give Laura a twitter lesson (it somehow just eludes her), and I manage to find time to get my bangs cut.

Tech meeting goes well; it's great to finally meet Cara and hear the technical side of things, what kit she's got and get hold of, what crew she can assemble, and so on. After a week ago, feeling like we were going nowhere fast, it suddenly feels like it's all systems go.

Monday, January 18, 2010

auditions, part 1

Two weeks until the proposed shoot dates. We have our schedule all mapped out for this week - meet with the camera person, auditions, callbacks etc, but that's all shot to shit when Cici's attendance is suddenly required at a shotgun wedding.

Some diary-juggling later, and auditions end up being Monday and Tuesday. We've put together a provisional list of who we want to see and I email everyone with allotted times. Some people can't do what we've given them, others just don't respond. Much scheduling and rescheduling later, it's Monday night, and Cici and I are at our temporary production base (*cough*her mum's empty flat in W8*cough*) waiting for our first auditionee. I've emotionally blackmailed my sister to come and be our assistant - getting the door and so on - and it works out well with the three of us, as we all take a role in the script and read the whole thing through with the guys.

At one point we have a half hour break between people; we're sat around the table, talking over the script, drinking tea and eating mini eggs, and realise we've gotten a bit too sugared up when we've all got the giggles over the most ridiculous things we could ask people to do in the auditions - "Get them to stand up and sing a song." "To audition in the style of Julie Andrews," "-or as Hitler!"

The good thing about working with people you've grown up with? You know how to make each other laugh. The bad thing about working with people you've grown up with? You know how to make each other laugh. It descends into hysterics (for no very good reason) and we attempt to sober up before the next guy turns up, worried we'll end up giggling all through his audition for the wrong reasons. Luckily we get it under control and finish off the night with the lovely Dewi Evans, before all splitting back to our various parts of London.

We only end up seeing three people on Monday night after a no-show and couple of last minute bails, but it's a good learning curve and quite nice to ease into as the schedule for Tuesday is a bit more manic.

Thursday, January 14, 2010

We've posted our casting call. What with all this unpaid work debate going on on Shooting People and so on, was rather worried we would be called out or harassed or just not get any responses but already had a good lot through from mandy.com and even some from SP. No union harassment yet, thank the stars... Now to sort and arrange auditions. Onwards and upwards, as they say!

No-budget short being shot end of January in west London needs FOUR MALES, EARLY TO MID 20s.

We follow four lads - housemates - going to a costume party as gangsters; on their way to the party they accidentally rob a shop and are then faced with the dilemma of taking the money and running or owning up to what's happened.

We're looking for the four guys:

1 - Alpha male, bit of a bully
2 - Not the brightest spark, thinks he's a tough guy but he's got a soft heart underneath
3 - A little bit of a sheep, not as cool as he thinks he is
4 - The runt of the litter, puts up with being picked on, and the only one with some integrity.

As we're no budget I'm afraid it's expenses and DVD copy only. We're shooting on HD with the intention to submit to festivals.

Wednesday, January 13, 2010

Been sleeping so sodding badly these past few days. Too much stuff on my mind, just can't ever switch it off. And now, when I actually do manage to fall asleep, I keep having really weird, vivid and rather horrible dreams. Last night's was about a zombocalypse - slow moving ones, that didn't have much sensory awareness, so you could kind of sneak through them if you were careful. I remember a scene in a supermarket when I and other survivors were trying to stock up on food but the place was full of gory zombies and we had to sneak through them without touching any of them. For the most part we were alright but there was this one zombie, a guy with weird hair, who grabbed my wrist as I was trying to get out and I had to shove a spike through the roof of his mouth to get him to let go. A small group of survivors ended up banding together and hiding in the storage area kind of under a stage - there were a couple of little kids as well - and it was terrifying when zombies finally entered the room and we all had to sit so still and quiet and hope they wouldn't notice our hiding place. And I remember the guy who'd grabbed me in the supermarket was there again too and I was really surprised before remembering that the only way to really get rid of a zombie is bash their brains in.

The one the other night was about a haunted house - no wait, haunted isn't right. It was a big, shared house and someone had been playing pranks on the people that lived there but then they got out of hand and it turned into a serial killer movie. It’s not even like I’ve been watching horror/zombie movies lately, so no idea where these are coming from.

Monday, January 11, 2010

Okay, this is it. Last week was the "ease back into work" week. This week, we're getting things done. My resolution to myself to be organised to the point of almost giving myself a schedule kicks off this week. I have movie dates a couple of nights but otherwise my plans are gym-dinner-writing and/or preproduction. All the way. I need to get some Adderall. Or just train myself. Perhaps I should draw up a nicely-coloured timetable for myself. That’s always a good way to procrastinate...

I’ve had the Stacked Deck story on my mind quite a lot recently - the more I think about it, the more I want to try and get that shot pretty shortly after Playtime's Over, while we've still got the crew and momentum - so re-read the initial feedback and make some notes for the redraft, which I think will actually work way better.

Later – get email from Laura about the new Playtime’s Over ending, and realise I’ve been totally misinterpreting what she was trying to say. The way she saw the other guy dying was to completely cut a beat out, not change it as I had been doing. This actually makes way more sense and makes it a lot cleaner. Plus, she totally understands my Clark Gable crush: “It’s TOTALLY understandable to be in love with Clark Gable – he’s a cad and a hottie and from a bygone era where men were men and none of them owned GHDs…good times!

Shun off gym – just can’t quite face it tonight – go home and crash out for an hour then it’s productivity a-go-go. Redraft PO as per Laura’s now-understood note and send it out, then sit down to tackle the total redraft of Stacked Deck. With minimal procrastination.

Sunday, January 10, 2010

I have been lured to my sister's under false pretences. There is NO COFFEE in the house. I am grouchy. She makes up for it by driving me home (I am so over winter right now) where I coffee up, watch Heroes (ummm...) and mostly fail to really get much work done. Had high hopes for this weekend's productivity but it's been rather an epic fail. Annoyed at myself.

Saturday, January 9, 2010

My sister, Fi, convinces me to go stay in Finsbury for the evening as both her roomies are out (she's so bad at spending time by herself!) Laura is still in when I get there so we have a quick catch up about the latest draft of the Playtime's Over script: she has some valid points about the Madonna speech in the first scene, and then brings up again the point of a different character dying. She’d mentioned this in her script notes in December and Cici and I had both loved the idea and discussed it in a meeting, but couldn't quite figure out how to make it work. Laura’s pretty strong on this point that she thinks it makes the whole thing more poignant so it's on the back burner all evening while we're watching Gone With The Wind (Clark Gable, I love you) and as I'm lying in bed a new ending comes to me.

Friday, January 8, 2010

I am now a company director. Doll Parts Productions Limited is a fully registered company with Companies House.

Send the draft location release over to one of my lawyers who has said she'd be happy to check it out for me, she gives me a call and we talk it through and there's only one slight amendment to make. Send the release over to Cici to drop in to the off-licence over the weekend.

I started the week just feeling like we weren't getting anywhere fast. Cici's job is obviously far busier than mine and takes her AFK a lot more, so it can be quite frustrating sometimes, waiting for a response. It felt like wading through treacle. Then finally the phone calls yesterday, which felt like a massive jump forwards, the confirmation from both Cara and the location, and now today with it all becoming official... very exciting.

Thursday, January 7, 2010

Finally hear from Cici; she calls to let me know she saw Cara last night who is totally on board - and can borrow any kit we need from university (amazing!). Cici also likes the script, approves it and agrees we can lock it down now, so top priority for this weekend is to break it all down. *Still* no answer from Hair of the Dog but the manager is apparently in from 3pm so she's going to try them again then. Fingers crossed. We agree to try and sort out a brief meet with Cara next week before Cici goes to Germany so we can all discuss what we're going to need and so on. The ridiculous lack of reception in this building kills the call but we both end it feeling positive and finally feel like we're actually getting the ball rolling.

Later: off-licence all on board. Huzzah! I now need to draft a location release for Cici to take in this weekend.

Thursday, December 31, 2009

December movie playlist

Lots of movies watched this month due to being ill so having time off work, and the 10 days off over the holiday period. Good times.

- Once Upon A Time In The West
- Henry: Portrait of a Serial Killer
- Who Saw Her Die
- What Have They Done To Your Daughters?
- L’Enfant
- La Jetée
- 40 Year Old Virgin
- Ghostwatch
- House On Dead End Street
- Dr Strangelove
- The Shout
- The Incredibles
- I Spit On Your Grave
- Innocence
- Star Trek
- Eternal Sunshine Of The Spotless Mind
- The Box
- Saw
- The Santa Clause
- Memento
- Let The Right One In
- Hostel
- Gremlins
- Die Hard
- Muppet Christmas Carol
- Black Christmas
- The Princess Bride
- Madagascar 2
- Home Alone
- How To Lose Friends & Alienate People
- The Hangover
- Searchers 2.0
- One Missed Call (Miike)
- Witchfinder General
- Tokyo Sonata
- Tremors
- Slither
- Puppet Master
- Rambo: First Blood
- Star Wars IV: A New Hope
- Star Wars V: The Empire Strikes Back
- Star Wars VI: Return Of The Jedi
- Inglourious Basterds

Tuesday, December 22, 2009

Have a good phonecall with old school friend Ria who now directs and produces a lot of theatre. I’m mainly calling to ask advice re: directing and working with the actors, which is the main thing I’m a little unsure of. She talks me through how she runs rehearsals and first meets and so on which is great, really useful stuff, that I basically knew but makes me feel a lot better to know I wasn’t on the wrong track with it.

Her major points were:
• Clarity
• Assume they have confidence in you
• Be confident that they think you’re great
• Don’t umm and ah
• Don’t be too eager to please
• Don’t be rude
• Make it all about the project
• Must be organized, neat and well-run
• Be firm but kind (to which I said, “just like when you’re looking after kids”, which she laughed at but agreed with)

Thursday, December 17, 2009

Best feedback ever:

…nearly texted you the other night as I was walking back from the station at 11pm to say your other script [Stacked Deck] totally messed with my mind and I’m now scared of getting attacked in my own house but I was walking too fast to get my phone out! Thanks a lot for that!”

Awesome.

Uh, I mean, umm sorry?

Monday, November 30, 2009

November movie playlist

- Up (2D) (with my godson for his first cinema trip!)
- Two For The Road
- Cloverfield
- Vanishing Point
- Hard Boiled
- The Lion King
- Hellraiser
- Raising Arizona
- Falling Down
- Phantom of Death
- I’m A Cyborg But That’s Okay
- Suburbia (Spheeris, 1984)
- Danger: Diabolik
- Escape From L.A.
- My Dear Killer
- Spiderman
- Hidden
- Ghostbusters
- Mouchette
- Time Crimes
- Butch Cassidy & The Sundance Kid
- Braindead
- ‘Night Mother
- Two For The Road
- Sixteen Candles
- Amores Perros
- Sympathy For Mr Vengeance

Tuesday, November 17, 2009

Actually make it to the gym, shock horror. After doing a bunch of Lula stuff, get around to cracking on with Playtime’s Over.

I actually managed to start writing this at work today, first by hand then transferring to a word doc (which you just don’t format properly so it doesn’t look like a script if someone happens to walk by). Transferring what I’ve done at work to the script-writing program (with a little polish here and there) gives me four pages of script already. Good-o. Already loving how it’s turning out. Feel like this might be the easier one to get made. Really worried about the tube scenes in Stacked Deck/Love Hurts. Student/non-professional filming permits aren’t expensive, but you have to submit a script and I just can’t see ours getting approved

Wednesday, November 11, 2009

From: Hannah Duncan
To: Cecilia C.
Wed, Nov 11, 2009 at 10:24 AM

Good morning

I have been thinking about our time frame and made a wall-planner yesterday of the rest of this month plus Dec and Jan - I genuinely think we should push the shoot back till the New Year. I just can't see how we're going to be prepared enough to shoot in December when you're away now from Monday till Dec 2nd. In fact, the more I've been thinking and assuming this (that we'll wait till Jan to shoot), the better I've been feeling about things. I think as it's our first time, we should give ourselves as much prep time and preproduction as possible, so that when we shoot we know *exactly* what we're doing, we've got the best people for the job on our crew, and we're not going to be rushed and making mistakes. I also feel that, given more time, and the fact that January is often a much quieter month for people, we'll not only be able to definitely get a better crew together (I think a lot of people just won't be available on the December weekend we'd been thinking of), we could even shoot two shorts, back to back, as I suggested that time - just get everything on film while we have the camera, kit and crew available, then spend a little longer editing. Two shorts are definitely better than one.

I've broken down the schedule/deadlines as such:

By tonight: an ending settled upon (either through emails today or a phone call this evening)

By Friday: I'll get drafts of both scripts to you

Over the weekend: I'll start breaking the scripts down - and, if possible, could we have a face to face catch up before you go away? I'm staying west this weekend - had been thinking of driving back up to town on Saturday evening but could do Sunday morning, so could swing by your place on my way for a cuppa and a chat? What are your weekend plans? Am sure you'll be busy packing etc.

While you're away: I start laying the groundwork - with your permission, start talking to my contacts for advice etc - eg, talking to friend James (the production designer I've worked on shorts with before) about what we're doing, getting his advice, seeing even if he wants to help out, maybe seeing if I can get a couple days shooting with him on one of his next projects (I'll just take holiday from work) so I'm reminded about being on set; talking to my friend who works promoting short films, getting her to read the scripts for her comments, ask her for advice etc. Start sounding out possible people who may want to be involved. I might even drop a line to the guy who was low on my resources list and haven't spoken to in ages, just to see what advice he'd have, kit-wise, and whether we may be able to borrow stuff from them at all.

We need to start assembling a crew - have attached a key people and kit list, and we can try to finalise our crew by the second week of December, once you're back - when we can also try to schedule a weekend or two in January for the shoot dates.

Okay, so what I need from you today is: your blessing to move the shoot dates back; let me know whether we're discussing the endings over email today (do you have lots of meetings?) or whether you want to call tonight; and about possible weekend catch-up. And of course any other thoughts on this/scripts.

Talk soon

H xox

Send Cici a long email this morning explaining that I really think we need to move the shoot dates back, along with kit & crew list, and some alternative endings for Stacked Deck. Eventually hear back from her in the afternoon - apparently the shit is somewhat hitting the fan at her workplace: she's been in a meeting alllll morning and now returned to find a mountain of paperwork on her desk. We schedule a call for 10pm to run through things. Spend my lunchbreak sat in a coffee shop reading the Troma directing book. So so funny. I think Lloyd Kaufman might have entered my pantheon of heroes (along with Roger Corman, Alex Cox and Robert Rodriguez.)

Get home, certainly don't spend over an hour Facebook stalking someone whose last name I don't even know, make dinner, watch an episode of The Mighty Boosh. Can you believe I’ve never seen it? Speak to Cici - despite the fact her phone keeps dying so keeps hanging up mid-conversation, it's a productive call and she's in agreement about moving things back, especially as she's away from Monday until December 2nd. We discuss the new endings: we're both a little unsure but agree to do a redraft of the current version, toning down the violence, and then a new draft with the new ending where Julian fakes an injury. Finish that call and resume my online chat with Dan, who's off to LA in a few days to shoot another Taco Bell commercial. Mmmm taco bell...

Tuesday, November 10, 2009

Leave the house feeling slightly guilty that I haven't emailed Cici a new draft of the script as we'd agreed. On my 10 minute/half mile walk to work I walk past TWO film crews setting up - the first a small affair in Russell Square and Montague Street; the second seems to be the production base - and it's actually based in and around my office. Talk about a sign. It’s like getting a massive nudge in the ribs, saying 'come on, jackass, stop stalling'. Get in and discover through my amazing powers of detection (*cough*IMDBPro*cough*) that it's Clint Eastwood's new film. Don’t feel up to writing a whole new draft of the script as I can't settle on an ending, despite our discussions at brunch, so draw up some new endings to talk over with Cici as soon as.

Watch Raising Arizona with dinner. Fucking brilliant. Love Nicolas Cage in that film.

Monday, November 9, 2009

A morning of doctors’ surgeries and hospital waiting rooms is only made bearable by Lloyd Kaufman’s Troma/directing book. God it's hilarious. Run errands after lunch, intend to write in the afternoon but frankly, with a day off, crawling back into bed is just too damn tempting...

Saturday, November 7, 2009

Breakfast with Cici at The Muffin Man in Kensington. Fucking freezing out. Bus is remarkably quick getting from Bloomsbury to KHS, so get there before her - especially as the tube line she needs to get is suspended so she has to walk. We eat first then chat - she's nicely enthusiastic about the two stories, though has some reservations about the ending of Stacked Deck, so we brainstorm some ideas. Leave the meeting still feeling good about it all (she's finished Rebel and completely loved it too; her brother has now nicked off with it) and with some deadlines to hit and her with some research to do.

Make a pitstop at Whole Foods and find Libby’s pumpkin mix (hurrah!) then hop on a bus back to town. It’s the Remembrance Day concert at the Albert Hall so the traffic is terrible and lanes of traffic have been shut; takes a while... Jump off on Oxford Street to go to Office in search of my dream Nike Blazers. They don't have any so run over to Carnaby Street - where they don't have the size I ask for but do have the size smaller, which, miraculously, actually fit perfectly. Guess I overestimated the size of my feet. Get home, faff, nap, shower, make food, faff some more, figure out what wear, jump on a bus down to Vauxhall for Clare’s birthday extravangza. Good times.

Sunday, November 1, 2009

Jesus, November already. How did this happen? Grey and rainy all day. Take Tay on his first cinema trip, to see Up. Oh Pixar. The first 15-20 minutes make me cry silently and continuously. And again towards the end. Sigh. Great film. Tayo enjoys himself too, transfixed through most of it. Haven’t seen a kids’ film at the cinema for a while, and definitely not with a family audience as there is on a Sunday afternoon. Very amusing, hearing the parents’ laughing at certain things, the kids asking “why?” continuously, repeating the jokes.

Later, back at home, decide to watch Two For The Road. Really great film but more excitingly it uses exactly the kind of narrative device I’ve been trying to work with in this redraft of Little Brother, to great effect. It makes me really excited about the LB script again, and I wish to hell I could get hold of an original copy of the TFTR script. All I can find online is a transcript, annoyingly. The film seems really ahead of its time in a lot of ways, and much of it is very contemporary (fashions aside). Am definitely going to have to watch it again, just to take proper note of the transitions and story telling.

Saturday, October 31, 2009

October movie playlist

- Road House, and
- Point Break (a PCC Patrick Swayze tribute double bill)
- Straight To Hell
- Hairspray
- Wild Style
- Man Bites Dog
- My Own Private Idaho
- Don’t Look Now
- Mountain of the Cannibal God
- True Romance (a little BG)
- The Godfather
- Bonnie & Clyde
- Inglorious Bastards (the original)
- Slacker
- In Search Of A Midnight Kiss
- Benny’s Video
- Funny Games
- Transformers
- Hatchet
- Colin
- Zombieland
- Le Cercle Rouge
- Poltergeist
- Transformers
- Theory of Achievement
- Trick R Treat
- American Werewolf In London
- Stranger Than Paradise
- Nightmare On Elm Street
- Final Destination 2
- A l’Interieur

Monday, October 26, 2009

Miraculously make it to the gym after work. Even more miraculously, don’t die. Later look up Hal Hartley shorts online and watch Theory Of Achievement. Interesting to watch but feel things like Hal Hartley and Jim Jarmusch that I’m watching are more relating to Little Brother (wt) than anything I’d make with Cici. Manage to sit down and finally bang out the script for Stacked Deck (working title). Ends up being 11 pages long. It’s definitely a first draft, too, but at least I’ve done it. Email it off to Cici.

Saturday, October 24, 2009

Second zombie movie of the weekend. Haven’t been to the cinema on a Saturday night in… well, years, I think. Some long overdue hangtime with James Diggle becomes an early show of Zombieland (omg I LOVED it. Such a great popcorn, Saturday night kind of film) and burritos in Angel. Decide to walk up to Angel as it always seems so near but I’ve never bothered yet. It is just as close as I think, and such a direct route. The night is just kicking off really when we leave at 10-ish, but we’re stuffed from yummy Mexican and frozen margs. I walk back home again, potter about, contemplate work… end up watching Le Cercle Rouge instead. Jean-Pierre Melville makes some classy films.

Friday, October 23, 2009

Another insane day at work. Drama department being annoyingly demanding – or rather, rudely demanding. It’s fine if you need something urgently but fucking learn to ask nicely or at least say PLEASE. Grrrr. Don’t even have time to have breakfast, so get cranky even easier. The IT system I need to get the contracts up for the Drama person is dead too, so spend ages on the phone with the IT guy, while downing coffee.

Cici comes over in the evening, we have some wine and food and talk film – amazingly, of all the shorts I’ve been sending her these past two weeks, our favourites are exactly the same: Bedhead and Treevenge – and, for me, Spike Jonze’s How They Get There (she hadn’t managed to watch it before now). It’s good to know we’re on the same page with that. Head on down to the PCC for the Colin screening with Director Q&A afterwards. We both have pretty low expectations of the film so I’m actually pleasantly surprised. Definitely some pacing issues, and the shaky cam is fucking AWFUL – just completely ruins most of the action sequences – but it’s really interesting to see what they’ve done with just £45 and a camcorder.

I leave Cici with Rebel Without A Crew to read, and Slacker to watch. Just a little more film education for her.