Today was very much a game of two halves. The morning's work entailed an improvised scene with Martin walking about looking pissed off. I myself was in quite a similar mood: just as we were about to start shooting, I stepped in a veritable Somme of dog shit. Nobody seems to have poop scoops in Weston and, as a result, canine faeces are everywhere, much to my - and Rich's annoyance (dog diarrhoea being one of his pet hates, if you'll pardon the pun). We got some good stuff in the can, and then allowed Martin to get the train back to London (incidentally, he'd found Ray slumped unconscious in the hotel bar yesterday afternoon - we all got a bit worried that he hadn't made his 8pm train due to getting wrecked).
The rest of the morning went pretty well, with more Ogilvy/Lucas scenes, and the scene where Ogilvy encounters Lucas and Cleo. We shot this around Holy Trinity, one of Weston's more prominent landmarks, which can be seen the Grand Pier end of the sea front.
The afternoon, however, was a different matter. Although so far when the actors have been given free reign to change scenes, the scenes in question have improved, today's bit of thespianic re-jigging came a cropper. Nobody was happy with the scene, something they only realised when we were trying to shoot it. The public were a bloody nightmare as well, and to cap it all, a ghastly little woman whose cafe we were shooting in front of came out to complain that we were scaring off her customers (one awful piece of housing estate trash who'd taken offence when she was politely asked to move out of shot a few paces). I could have punched the fucking bitch.
I left the location fuming, vowing to never again try and shoot a scene that hasn't been thoroughly nailed down beforehand. I'm afraid to say, the actors were the main culprits in this fuck-up. But Rich seemed to think we got the scene in the can, and the Queenswood bar has never been so welcoming.
Friday, October 27, 2006
Thursday, October 26, 2006
Day 6
Back in Grove Park again this morning, shooting Lucas and Cleo walking about, and then past Priestly, who quotes a bit of Hamlet at them. Ray also had the brilliant idea of quoting from The Winter's Tale in the scene where he's sitting next to Lucas near the start of the film in the Italian Gardens (so-named after Marconi, who made the first ever radio transmission across water from Weston to Cardiff in 1897 - quite why he chose Weston is still something of a mystery; perhaps he was a member of the Order of the Golden Dawn, who had a temple in town). The Shakespeare quote really transformed the scene into something quite strong. In another bit of off the cuff improvising, we shot the scene where Lucas goes to a newsagent to buy cigarettes outside a newsagent we were passing on the way back to Grove Park for more Lucas and Cleo stuff.
Lunchtime saw something of an ecclesiastical emergency in that we realised that Chris Dunne's dog collar looks more like, in Adam's words, 'a bandage'. Much merriment was had by all, but it then meant we had to either find a real vicar and appropriate parts of his clothing, or try and make a new collar of our own. This is what Helen, our brilliant make-up artist, managed to do, so we were able to carry on with Chris's scenes. It's good to have Chris down - he was great to work with in Cornelius Crow, and will no doubt become a regular feature at the Regency (the unit's other watering hole, down the road from the Queenswood).
Another quirk of the film came to light today. We were shooting the Dream Roads scene around the Shrubbery (a strange little part of Weston you can only access by going under a mock Venetian bridge), an area I chose for its charm, and the fact that it's quiet. Well, when I say 'quiet' I meant it's like that provided film crews aren't around. As soon as we showed up, there were cars, vans and busses galore, to say nothing of a stone mason with a circular saw cutting big chunks out of Weston's answer to the Bridge of Sighs (the sighs in question being our own). There must be some obscure branch of physics that could explain why all it takes to turn a quiet street into Piccadilly Circus is about half a dozen people, two actors, and a small HDV camera... Needless to say, we had to set the world to rights in the pub afterwards.
Lunchtime saw something of an ecclesiastical emergency in that we realised that Chris Dunne's dog collar looks more like, in Adam's words, 'a bandage'. Much merriment was had by all, but it then meant we had to either find a real vicar and appropriate parts of his clothing, or try and make a new collar of our own. This is what Helen, our brilliant make-up artist, managed to do, so we were able to carry on with Chris's scenes. It's good to have Chris down - he was great to work with in Cornelius Crow, and will no doubt become a regular feature at the Regency (the unit's other watering hole, down the road from the Queenswood).
Another quirk of the film came to light today. We were shooting the Dream Roads scene around the Shrubbery (a strange little part of Weston you can only access by going under a mock Venetian bridge), an area I chose for its charm, and the fact that it's quiet. Well, when I say 'quiet' I meant it's like that provided film crews aren't around. As soon as we showed up, there were cars, vans and busses galore, to say nothing of a stone mason with a circular saw cutting big chunks out of Weston's answer to the Bridge of Sighs (the sighs in question being our own). There must be some obscure branch of physics that could explain why all it takes to turn a quiet street into Piccadilly Circus is about half a dozen people, two actors, and a small HDV camera... Needless to say, we had to set the world to rights in the pub afterwards.
Wednesday, October 25, 2006
Day 5
Today has been a day of contrasts. First thing on the agenda this morning was Michael's breakdown scene, which we shot in Clarence Park. Apart from Fed Ex vans appearing in the background when we, in all honesty, least needed them, we also had to contend with learner drivers - of both the two wheeled and four wheeled variety - doing three point turns and emergency stops. Joe and Josephine public were not too bad - a few old biddies walking their lap dogs (that looked more like toupees than anything) - but the main problem was the weather. It rained, not to make too fine a point of it. In the 15 or so takes we did (another Bogo Tarr tracking shot), we only had 2 or 3 without rain on the lens.
This was followed by shooting a lengthy single take (6 minutes) of Sally in church. The script specifies that she leaves £500 in the collection plate, but the cash machine would only let me take £300 out, so I gave Sally that, plus the £20 already in my wallet. Yes, you actually see production cash in the film! The scene went well, although we lost the focus momentarily about halfway through, which means we may have to cut away to something. (I think in the script we have another Lucas/Ogilvy scene that bisects the church scene.) My mother, who has been doing the catering, put in a cameo as flower-arranging lady in background (a role she plays in real life).
The logical place to go after church is of course a pub, and the afternoon saw us in the Cooper's Arms in Highbridge (one of my spiritual locals). I'd originally booked the upstairs room, but John, the landlord, kindly let us use the actual back of the pub, which is a lot better. The trouble was, the scene, having been changed quite a lot, now no longer worked as originally envisioned. That, combined with the fact that we ran over time, causing a bit of friction with the locals, meant that the scene was quite stressful to shoot. The scene also marked the debut on the shoot of Ray Callaghan, as the drunken Greek chorus, Priestly. When not shooting, he was drinking and chatting up women a quarter his age.
Perhaps the day has best been summed up by the man who was walking his dog this morning in Clarence Park. He took one look at us in the pouring rain, smiled, and said, 'You must be mad.'
I think I would agree with him.
This was followed by shooting a lengthy single take (6 minutes) of Sally in church. The script specifies that she leaves £500 in the collection plate, but the cash machine would only let me take £300 out, so I gave Sally that, plus the £20 already in my wallet. Yes, you actually see production cash in the film! The scene went well, although we lost the focus momentarily about halfway through, which means we may have to cut away to something. (I think in the script we have another Lucas/Ogilvy scene that bisects the church scene.) My mother, who has been doing the catering, put in a cameo as flower-arranging lady in background (a role she plays in real life).
The logical place to go after church is of course a pub, and the afternoon saw us in the Cooper's Arms in Highbridge (one of my spiritual locals). I'd originally booked the upstairs room, but John, the landlord, kindly let us use the actual back of the pub, which is a lot better. The trouble was, the scene, having been changed quite a lot, now no longer worked as originally envisioned. That, combined with the fact that we ran over time, causing a bit of friction with the locals, meant that the scene was quite stressful to shoot. The scene also marked the debut on the shoot of Ray Callaghan, as the drunken Greek chorus, Priestly. When not shooting, he was drinking and chatting up women a quarter his age.
Perhaps the day has best been summed up by the man who was walking his dog this morning in Clarence Park. He took one look at us in the pouring rain, smiled, and said, 'You must be mad.'
I think I would agree with him.
Tuesday, October 24, 2006
Day 4
We are trying to shoot in sequence wherever possible, mainly to aid Adam and Sally's growing onscreen relationship. This morning saw us shoot a long, Bela Tarr-style tracking shot in which the two of them reminisce - a bit - and then lapse into silence. This was shot at the end of Weston's High Street, and on into Grove Park (my favourite of Weston's parks). The traffic didn't present too much of a problem. More direct problems were created by the public standing and staring at the camera. They're like animals caught in car headlights. I mean, why are they so stupid? One particularly dense and obese example - a female of the species - started going on loudly from the other side of the stree about how she was now going to be on telly. Continued talk like that will see her on TV; specifically, on the news, in a body bag.
The other problem was the Hague camera stabilizer I bought for the shoot. I tried one out back in February at Video Forum at Earl's Court, where I walked up and down with either a Z1 or a PD170 mounted on it, and it was perfectly smooth. Great, I thought, a Steadicam-like effect, and for only £200! The trouble Rich is now having is that, as we are recording sound directly into the camera via my mixer, any slight tug from the sound cables destabilizes the camera. As Stu is following Rich during the tracking shots, this is unavoidable. Also, wind (as in breeze, not crew flatulence) similarly fucks things up. As Rich said tonight in the Queenswood bar, it's more like Bogo Tarr than Bela Tarr. Still, we hopefully have a few usuable takes in the can.
The PM saw us shoot the Priory scene, which was finalized last night in the bar at the Queenswood. All done in one 4 minute take. A definite nod to Tarkovsky, Nostalgia in particular (the location, Woodspring Priory, would not have looked out of place in that film).
Our final scene was the one in which Michaels - played by the marvellous Martin Trent - goes to visit his ailing mother in a hospice. He'd re-worked the dialogue brilliantly; it's now quite a touching scene. His mother was played by the irrepressible Di from Backwell Drama Group. It's quite ironic that in the scene, she likes inert in bed, but that was about the only time she wasn't talking. She's a great lady, a real character. She informed us all that she was having a great time being in a hotel room with 6 young men! (Nice to be called young! Ah! Youth slipping away.... Sensitive crimes in a punt etc... if I may lapse into Uncle Monty mode for a minute).
The other problem was the Hague camera stabilizer I bought for the shoot. I tried one out back in February at Video Forum at Earl's Court, where I walked up and down with either a Z1 or a PD170 mounted on it, and it was perfectly smooth. Great, I thought, a Steadicam-like effect, and for only £200! The trouble Rich is now having is that, as we are recording sound directly into the camera via my mixer, any slight tug from the sound cables destabilizes the camera. As Stu is following Rich during the tracking shots, this is unavoidable. Also, wind (as in breeze, not crew flatulence) similarly fucks things up. As Rich said tonight in the Queenswood bar, it's more like Bogo Tarr than Bela Tarr. Still, we hopefully have a few usuable takes in the can.
The PM saw us shoot the Priory scene, which was finalized last night in the bar at the Queenswood. All done in one 4 minute take. A definite nod to Tarkovsky, Nostalgia in particular (the location, Woodspring Priory, would not have looked out of place in that film).
Our final scene was the one in which Michaels - played by the marvellous Martin Trent - goes to visit his ailing mother in a hospice. He'd re-worked the dialogue brilliantly; it's now quite a touching scene. His mother was played by the irrepressible Di from Backwell Drama Group. It's quite ironic that in the scene, she likes inert in bed, but that was about the only time she wasn't talking. She's a great lady, a real character. She informed us all that she was having a great time being in a hotel room with 6 young men! (Nice to be called young! Ah! Youth slipping away.... Sensitive crimes in a punt etc... if I may lapse into Uncle Monty mode for a minute).
Monday, October 23, 2006
Day 3
This morning, we shot the scene where Paul buys Cleo a drink and tries to woo her in his thoroughly inept way. Our location was my (geographical) local, The Red Cow in Brent Knoll. This was the first scene we shot using both cameras, which speeded things up considerably. Stuart, our very able soundman, has detected a hiss on my camera, so we've swapped them over, with the hired camera now being our 'A' camera, and mine being relegated to the Second XI. The scene looked good, with Steve Dineen acting his little socks off while wearing a truly hideous tie. Sally was amazing too: she has an ability to do almost nothing, yet at the same time convey a huge amount of unsaid emotion. Her understanding of the role is spot on.
The afternoon saw us shoot the first meeting between Cleo and Lucas. Like a lot of their scenes together, it's been completely stripped down. There's now only about 5 or 6 lines of dialogue, but the scene lasts around 4 minutes. The final line in the scene, Sally's 'Shall we?' had a big effect on me. Those two words now seem to be the most important in the film. Given the ending of the film, they will hopefully have the same effect on the audience as they did on me today; I was actually quite moved when she uttered those words. Simle is strong, as Bill Douglas used to say.
We used both cameras again for this scene. Stuart has not been able to sort out the hiss on my camera, despite being on the phone to Visual Impact for about half an hour. Still, we got the scene done. The location is wonderfully bleak, up by Weston's Old Pier, the sort of place which would be an ideal location for a seaside remake of Stalker. The Fig Rig has now been rechristened Figgus Riggus, which reminds me of Biggus Dickus from Life of Brian. Perhaps Figgus was Biggus's brother in law? (Which would make him Incontinentia Buttocks's brother... or something.)
Our final scene of the day was another Cleo and Paul scene. Again, Steve was truly ghastly as Paul. And I mean that as a great compliment! He's fantastic.
The actors have rather warmed to the Queenswood. Not surprising, it's a fantastic place. The bar and lounge area have now become our base, and spiritual home.
The afternoon saw us shoot the first meeting between Cleo and Lucas. Like a lot of their scenes together, it's been completely stripped down. There's now only about 5 or 6 lines of dialogue, but the scene lasts around 4 minutes. The final line in the scene, Sally's 'Shall we?' had a big effect on me. Those two words now seem to be the most important in the film. Given the ending of the film, they will hopefully have the same effect on the audience as they did on me today; I was actually quite moved when she uttered those words. Simle is strong, as Bill Douglas used to say.
We used both cameras again for this scene. Stuart has not been able to sort out the hiss on my camera, despite being on the phone to Visual Impact for about half an hour. Still, we got the scene done. The location is wonderfully bleak, up by Weston's Old Pier, the sort of place which would be an ideal location for a seaside remake of Stalker. The Fig Rig has now been rechristened Figgus Riggus, which reminds me of Biggus Dickus from Life of Brian. Perhaps Figgus was Biggus's brother in law? (Which would make him Incontinentia Buttocks's brother... or something.)
Our final scene of the day was another Cleo and Paul scene. Again, Steve was truly ghastly as Paul. And I mean that as a great compliment! He's fantastic.
The actors have rather warmed to the Queenswood. Not surprising, it's a fantastic place. The bar and lounge area have now become our base, and spiritual home.
Sunday, October 22, 2006
Day 2
Today was the second day of the shoot. In the morning, we shot Adam Napier driving around Weston. Simple stuff, but actually very difficult to keep the camera steady. We shot the service station scene at Sedgmeoor Services (Northbound, in case any of you are location fetishists!), and then drove onto the M5. Mein Gott! Talk about an urgent neeed to resurface that part of motorway! Rich (our brilliant DOP) had the camera on the Fig Rig, but even so, it was a tad tricky. Once we got into Weston, we drove past the beach bike races, and passed the longest traffic jam I've ever seen in the town (going all the way from the Beach Lawns to the Anchor at Bleadon - a distance of several miles).
The afternoon saw us shooting the first dialogue scene of the film, where Cleo hitches a lift from Paul, the sad and lonely tie salesman. (Come to think of if, ALL the characters are sad and lonely... but I don't want to give away too much of the plot!) We shot it on the A38 just outside Weare, where there's a good layby. Unfortunately, the weather was rather inclement, and there was a lot of traffic (beach race-related?). It was one of those scenes where you really need walkie-talkies - even two yoghurt pots connected by a bit of thread would have helped - but we didn't have any, so I had to do a lot of running back and forth across the road. The car scenes themselves - framed a la Kiarostami's Taste of Cherry - were good, although the mic was in shot for nearly all of Sally's shots. I think we can fix it in post, so no worries.
Tonight was the first night the actors and Rich could stay at the hotel, the rather marvellous Queenswood (www.queenswoodhotel.com). Rich has been on my floor for the last two nights, while Adam has been in Wells, Sally with friends in Redhill. Onwards and upwards!
The afternoon saw us shooting the first dialogue scene of the film, where Cleo hitches a lift from Paul, the sad and lonely tie salesman. (Come to think of if, ALL the characters are sad and lonely... but I don't want to give away too much of the plot!) We shot it on the A38 just outside Weare, where there's a good layby. Unfortunately, the weather was rather inclement, and there was a lot of traffic (beach race-related?). It was one of those scenes where you really need walkie-talkies - even two yoghurt pots connected by a bit of thread would have helped - but we didn't have any, so I had to do a lot of running back and forth across the road. The car scenes themselves - framed a la Kiarostami's Taste of Cherry - were good, although the mic was in shot for nearly all of Sally's shots. I think we can fix it in post, so no worries.
Tonight was the first night the actors and Rich could stay at the hotel, the rather marvellous Queenswood (www.queenswoodhotel.com). Rich has been on my floor for the last two nights, while Adam has been in Wells, Sally with friends in Redhill. Onwards and upwards!
Day 1
Shooting started yesterday. We did the opening scene first, which was in the rather surreal settings of a local garden centre, complete with life-size Father Christmasses that said Ho Ho Ho! a lot to small children, and a visiting Kenyan choir, who were doing a charity gig. Luckily, we managed to frame both out during the takes. The afternoon saw us filming in the rather restricted confines of my flat. We shot a great sequence on the front stairs, and even had time to fall over during a backwards walking steadicam shot. (A modest homage to Bela Tarr!) More anon.
Wednesday, October 18, 2006
As Tough as Bresson
'Martin Scorsese praised Bresson in uniquely American terms: "Elvis Costello said that whenever he's writing a song he asks himself, is it as tough as Hank Williams? Meaning--is it as ruthlessly pared down, as direct as unflinching in its gaze at aspects of life I might feel more comfortable ignoring? Young filmmakers might well ask themselves, 'Is it as tough as Bresson?"'
From Robert Bresson: A Spiritual Style in Film.
By Joseph Cunneen.
Continuum, 224 pp., $29.95.
From Robert Bresson: A Spiritual Style in Film.
By Joseph Cunneen.
Continuum, 224 pp., $29.95.
Saturday, October 14, 2006
Rehearsal Diary #1
Just back from London, where we've been rehearsing for the last four days. Things went better than expected, and that's not just my feeling, but everyone else's. Am absolutely shattered, so will write more tomorrow.
Sunday, October 08, 2006
Once More Unto the Breach
OK, two weeks to go before we start shooting. Have been down to Holland and Barrett for some Rescue Remedy (as recommended to me by my sister, in whose shop www.myarosa.co.uk we'll be shooting a significant scene) just to keep the blues away. In fact, I have the spray version, which reminds me uncannily of the PKD novel Ubik, in which the titular substance first appears as a spray... We are definitely living in a Phildickian world, what with android presidents etc.
Anyway, talking of Rescue Remedy, I should add that we're in the grips of good old pre-production stress (as if you hadn't sussed!). It's very much a case of, to quote Animal House, 'My advice to you is to start drinking heavily.' Still one of the best lines of dialogue ever. But, stress is part of the job, and it amazes me how it comes and goes (am I quoting Black Sabbath there?!); some days it's awful, quite frankly, and I think any director you'd ask about this would agree. Hence drinking, smoking, and dying in your 50s. (e.g. Tarkovsky, Truffaut, Douglas). (Mind you, I'd rather give up than keel over.)
But on other days, there's no stress at all: things just seem to happen, in a rather tao-like way. Which reminds me of the wisdom of a Buddhist teacher or two whose names have escaped me: the advice being, rather than 'Don't just stand there, do something!', in fact being 'Don't just do something, stand there!' I think this could be a great motto for this film.
Anyway, talking of Rescue Remedy, I should add that we're in the grips of good old pre-production stress (as if you hadn't sussed!). It's very much a case of, to quote Animal House, 'My advice to you is to start drinking heavily.' Still one of the best lines of dialogue ever. But, stress is part of the job, and it amazes me how it comes and goes (am I quoting Black Sabbath there?!); some days it's awful, quite frankly, and I think any director you'd ask about this would agree. Hence drinking, smoking, and dying in your 50s. (e.g. Tarkovsky, Truffaut, Douglas). (Mind you, I'd rather give up than keel over.)
But on other days, there's no stress at all: things just seem to happen, in a rather tao-like way. Which reminds me of the wisdom of a Buddhist teacher or two whose names have escaped me: the advice being, rather than 'Don't just stand there, do something!', in fact being 'Don't just do something, stand there!' I think this could be a great motto for this film.
Tuesday, October 03, 2006
Rehearsals Start Next Week
We are now just about to start rehearsing. I've found a great space in Swiss Cottage, which we are sharing with Ken Campbell. (He and his lot are only in there one or two evenings, so we hopefully won't clash.) The owner of the space is a big Tarkovsky fan, and knows my book on him, while the lady downstairs is into the Cathars. Whether she's read my b0ok on them, I don't know. (Perhaps I could offer her a signed copy in exchange for a reduction in the hire charges.) Anyway, it's big, bright and easy to get to.
We're going to be shooting the rehearsals, and hopefully will have something to post online soon, probably at the MySpace page (www.myspace.com/891filmhouse).
We almost have a DOP, too. I've met someone who I think's our man, just waiting for his reel to show up. Or rather, as I'm currently in Edinburgh, the reel is probably lying there just inside the letterbox waiting for me to show up.
We're going to be shooting the rehearsals, and hopefully will have something to post online soon, probably at the MySpace page (www.myspace.com/891filmhouse).
We almost have a DOP, too. I've met someone who I think's our man, just waiting for his reel to show up. Or rather, as I'm currently in Edinburgh, the reel is probably lying there just inside the letterbox waiting for me to show up.
Friday, September 22, 2006
Sven Nykvist
Legenary cinematographer Sven Nykvist has died. He was 83. Although best remembered for being Bergman's cameraman, I will always love Sven for his work with Tarkovsky. His photography on The Sacrifice is just amazing - a strong contender for some of the best cinematography ever.
The Independent Obituary is here.
The Independent Obituary is here.
Tuesday, September 19, 2006
Stars
Tonight, on the 36th anniversary of Jimi Hendrix's death, I watched the clear night sky while listenting to the Jimi Hendrix C0ncerts version of "Little Wing". Uttlerly sublime. RIP Jimi. You'd have loved the sky tonight.
Saturday, September 16, 2006
Mannheim
Heard on Thursday deep in the p.m. that Folie has been accepted by the Mannheim Co-Production Meetings, a prestigious affair that takes place during the Mannheim-Heidelberg Film Festival in November.
More info here: http://www.mannheim-filmfestival.com/en/Homepage/
It's a major step in the right direction, and it's also a great festival. Unlike Cannes, everyone gets an invite to all the parties, half the festival happens in the beautiful town of Heidelberg (which also has a bloody good record shop - record as in vinyl), plus there is also a great cocktail bar which hovers like a lighthouse over the Stadhaus, Stars, whose site is here: http://www.turmcafe-stars.de/
I can recommend a Fred Astaire, to be taken each day just as the lights come on. Impossible not to marvel at the beauty of the world - even the industrial bits that you can see from the bar - at a time like that.
More info here: http://www.mannheim-filmfestival.com/en/Homepage/
It's a major step in the right direction, and it's also a great festival. Unlike Cannes, everyone gets an invite to all the parties, half the festival happens in the beautiful town of Heidelberg (which also has a bloody good record shop - record as in vinyl), plus there is also a great cocktail bar which hovers like a lighthouse over the Stadhaus, Stars, whose site is here: http://www.turmcafe-stars.de/
I can recommend a Fred Astaire, to be taken each day just as the lights come on. Impossible not to marvel at the beauty of the world - even the industrial bits that you can see from the bar - at a time like that.
Tuesday, September 12, 2006
The Psychogeographer's Guide to Weston-super-Mare
Spent yesterday recce-ing for locations, which generally meant driving around Weston with my camera, doing emergency stops whenever I saw something of interest. We've decided to try and make Weston look interesting, which, for people who are only familiar with such delights as the Sea Front, the Grand Pier and the Sovereign Centre, will sound like a challenge too far.
In fact, a lot of the older part of town - on the hill - looks great, so we will be shooting around there. It almost has a Lovecraftian feel to it on certain days, or at certain times of day. Something to do with the light. On the day, of course, we won't have the sunlight at our beck and call, but a nice even light should be good enough.
I'm doing another day of recce-ing, probably on Friday. Tomorrow I'm off to see the Film Council and a prospective DOP in London
In fact, a lot of the older part of town - on the hill - looks great, so we will be shooting around there. It almost has a Lovecraftian feel to it on certain days, or at certain times of day. Something to do with the light. On the day, of course, we won't have the sunlight at our beck and call, but a nice even light should be good enough.
I'm doing another day of recce-ing, probably on Friday. Tomorrow I'm off to see the Film Council and a prospective DOP in London
Tuesday, September 05, 2006
Friday, August 25, 2006
Start Date Set
After spending two days in London, where I managed to touch base with four of the cast - Sally, Chris, Steve and Martin - we have now agreed on a timetable. We'll start rehearsing on 10th Oct, start shooting on the 20th, and hopefully have the wrap party on the 30th.
We have also all been discussing the script, and I can report that everyone is singing from the same hymn sheet when it comes to the need to pare things down to a level of minimalism that wouldn't look out of place in a Bresson or Bill Douglas film.
We have also all been discussing the script, and I can report that everyone is singing from the same hymn sheet when it comes to the need to pare things down to a level of minimalism that wouldn't look out of place in a Bresson or Bill Douglas film.
Monday, August 14, 2006
A General Update
I now have confirmation that Sally is doing her stint in Fool For Love on 23/8/06 at 1600. Tickets will be free, so if you want to see Folie's leading lady in the flesh, just turn up at the Apollo (which is way down Shaftesbury Ave towards Piccadilly Circus).
I will be meeting with Sally and the other actors both on that day, and the day after. Our main business at the moment is deciding on a start date. I think it will be either the week after Sally finishes Fool for Love (11/9) or the week after Adso finishes his [Noel] Coward piece (2/10). As Sally wants to go to NYC in late October, that will be our cut off point.
Before any of this happens, however, I still have another 48 hours in which to finish my Gnostic book before flying to Edinburgh for a much needed break. I haven't felt this tired in years, and in general, feel almost unspeakably awful. Only two weeks ago I was going running most evenings listening to Tord Gustavsen on my iPod. Where's it all gone wrong?!
I will be meeting with Sally and the other actors both on that day, and the day after. Our main business at the moment is deciding on a start date. I think it will be either the week after Sally finishes Fool for Love (11/9) or the week after Adso finishes his [Noel] Coward piece (2/10). As Sally wants to go to NYC in late October, that will be our cut off point.
Before any of this happens, however, I still have another 48 hours in which to finish my Gnostic book before flying to Edinburgh for a much needed break. I haven't felt this tired in years, and in general, feel almost unspeakably awful. Only two weeks ago I was going running most evenings listening to Tord Gustavsen on my iPod. Where's it all gone wrong?!
Tuesday, August 01, 2006
Sally on Stage in the West End
Looks like Sally Scott, our female lead, will be taking over from Juliette Lewis in Fool for Love for a matinee on 23 August. More details to follow when I have them.
Still not finished the Gnostic book, but am in the home strait. Bloody nightmare.
Still not finished the Gnostic book, but am in the home strait. Bloody nightmare.
Tuesday, July 18, 2006
Just noticed this comment on Theo Angelopoulos's site, relating to his film Landscape in the Mist:
I would use Bergman's words to say that the goal of cinema is to bring the dream back into our life, and thus help us to confront life's difficulties.
I would use Bergman's words to say that the goal of cinema is to bring the dream back into our life, and thus help us to confront life's difficulties.
~ Dusan Makavajev
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