- 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
Sunday, February 28, 2010
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
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.
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.
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!
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.
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.
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...
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.
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.
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.
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.
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...
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.
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.
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.
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.
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.
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.
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.
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.
Tuesday, February 2, 2010
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...
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