This sounds like an interesting opportunity. Remember, don't just bombard them with ideas you happen to have lying around, or half-baked premises you think might have potential. Hit them with your best. Be confident in your pitch, believe in your story. They need you, you don't need them. Well, that's not strictly true but you get the gist...
---
Hello, I am Derek Harrington, a producer working with British cult horror director Norman J Warren and we are looking for a UK based low budget HORROR film script.
Usual rules apply. Few locations not top heavy on CGI. We hope to shoot end of 2009 / early 2010.
We are prepared to receive pitches from unrepped writers.
Money. This is a paid gig. In the UK unknown writers usually get
$80,000 for a first time film.
This would be stage payments. We may also be interested in taking a story we like even if we don't like the script. We would then pay for the story.
* Strong Female Lead
* Really good horror feature film
* Highly original
* Simple
* Based in reality (IDEALLY)
* 18 Rating
* Appeal to a young audience
* Budget £1.2M / $2.4M US
* Filmable in the UK London / Herts. / Elstree
I hope this gives you an indication of our requirements and I would cite for reference of recent times:
Eden Lake
[REC] (Spanish)
The Hole
Let The Right One In
The Descent
Wolf Creek
The Orphanage (Spanish)
and
Carrie
The Long Weekend (Australia)
Please send loglines / synopsis to me at derekharrington@hotmail.co.uk - script name in the title bar, and with your contact details.
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Thursday, May 28, 2009
Thursday, May 21, 2009
Red Planet 2008/09 Overview
The brief changed slightly for this year's Red Planet Prize. Instead of any script you happened to have in your drawer, we wanted TV pilot scripts, preferably an hour long. Same rules applied. Send in your first ten pages. If we liked them, we asked to see the whole script. Only about 10% of the entries would get through to the crucial second round, so the decision making process was typically ruthless and subjective. From the impressive line-up of second round scripts, the next agonising stage was compiling the final shortlist and then, somehow, picking a winner (kudos to Mark Wilkinson and his drama, The Ropes).
Just like last year, the standard was really high. But just like last year, there were common mistakes, samey ideas and general no-nos that emerged. You may think that there's no point talking about standard format issues, spelling mistakes or poor script presentation but it's always a surprise to see how regularly these common mistakes appear. It's always a turn-off (but not necessarily an immediate 'pass' depending on the actual quality of the story) and people really should know better.
As the script reading began, one particular genre quickly stood out as the choice for this year's entries: supernatural drama/thrillers. Initially, this was very exciting and heartening: writers were unafraid to pitch and develop high concept TV! Fantastic! However, it soon felt like every second entry was a supernatural drama/thriller, and most of them shared a samey premise or familiar quality. There was some good writing, sure, but nothing really original or distinctive was standing out. I couldn't quite believe it but I was getting tired of reading supernatural drama/thrillers!
The entries that weren't of a supernatural design were an interesting mix of typical TV ideas that we've all seen before (a vet/fireman/doctor/prodigal son/daughter returns to their parochial village and reconnects with the community/family through their endearing quirks and relationships). These were fine but, well, a bit underwhelming. This is where we were ruthless about what got through to the second round. A lot of the style, format and presentation was of a decent standard but the writing and story wouldn't be sufficiently engaging to make you want to go further than page 10. Sometimes, you didn't want to go further than page 5. Or in some cases, page 1.
After a few months going through the first round of submissions, we managed to compile a list for the next stage. The second round is the most exciting. We get to read the entire script and experience the full flavour of what the first ten pages had hinted towards. Some of the potential didn't quite pay off for a small number of the chosen few but all showed real spark and talent with their ideas, style, ambition and conviction. Now, the real fight began to choose our favourites for the final shortlist. This is where we'd agree, disagree, change our minds and repeat the cycle until somehow we managed to have a shorter list than when we first started. A final shortlist for final judging! Hurrah. And lo, a winner was chosen. Phew. Well done again to Mark Wilkinson and his script, The Ropes.
So, there you have it. This year's rundown. And on Wednesday, a good handful of writers from the shortlist were invited to Red Planet HQ to listen to Tony Jordan talk about the opportunities open to them. Mr Jordan's passion, energy and humour is always inspiring and he didn't disappoint as he spoke at length about what he and Red Planet want to achieve. It really is a great company, a terrific screenwriting competition and a genuine opportunity to give your writing career the kickstart it deserves. I'm so proud to be a part of it.
Just like last year, the standard was really high. But just like last year, there were common mistakes, samey ideas and general no-nos that emerged. You may think that there's no point talking about standard format issues, spelling mistakes or poor script presentation but it's always a surprise to see how regularly these common mistakes appear. It's always a turn-off (but not necessarily an immediate 'pass' depending on the actual quality of the story) and people really should know better.
As the script reading began, one particular genre quickly stood out as the choice for this year's entries: supernatural drama/thrillers. Initially, this was very exciting and heartening: writers were unafraid to pitch and develop high concept TV! Fantastic! However, it soon felt like every second entry was a supernatural drama/thriller, and most of them shared a samey premise or familiar quality. There was some good writing, sure, but nothing really original or distinctive was standing out. I couldn't quite believe it but I was getting tired of reading supernatural drama/thrillers!
The entries that weren't of a supernatural design were an interesting mix of typical TV ideas that we've all seen before (a vet/fireman/doctor/prodigal son/daughter returns to their parochial village and reconnects with the community/family through their endearing quirks and relationships). These were fine but, well, a bit underwhelming. This is where we were ruthless about what got through to the second round. A lot of the style, format and presentation was of a decent standard but the writing and story wouldn't be sufficiently engaging to make you want to go further than page 10. Sometimes, you didn't want to go further than page 5. Or in some cases, page 1.
After a few months going through the first round of submissions, we managed to compile a list for the next stage. The second round is the most exciting. We get to read the entire script and experience the full flavour of what the first ten pages had hinted towards. Some of the potential didn't quite pay off for a small number of the chosen few but all showed real spark and talent with their ideas, style, ambition and conviction. Now, the real fight began to choose our favourites for the final shortlist. This is where we'd agree, disagree, change our minds and repeat the cycle until somehow we managed to have a shorter list than when we first started. A final shortlist for final judging! Hurrah. And lo, a winner was chosen. Phew. Well done again to Mark Wilkinson and his script, The Ropes.
So, there you have it. This year's rundown. And on Wednesday, a good handful of writers from the shortlist were invited to Red Planet HQ to listen to Tony Jordan talk about the opportunities open to them. Mr Jordan's passion, energy and humour is always inspiring and he didn't disappoint as he spoke at length about what he and Red Planet want to achieve. It really is a great company, a terrific screenwriting competition and a genuine opportunity to give your writing career the kickstart it deserves. I'm so proud to be a part of it.
Tuesday, May 19, 2009
CBBC opportunity
Thank you all for your kind words and compliments about my EastEnders episode. You're all biased! But thank you, it means a lot. I had fun watching with a bottle of Cava (I know how to live) and it was a real buzz seeing my name come up at the end, a proper prime time credit. It makes you want more, immediately, like 'what else is on TV tonight that I wrote? What do you mean nothing?' Crikey, imagine how TV's James Moran feels all the time with his gazillion credits? He kindly took this photo last night at the key moment, thanks James!
Anyway, now that's over with, let's get back to the business at hand shall we? The BBC writersroom posted a new CBBC opportunity today that looks really interesting:
"Do you have stories to tell that we've never seen before?
Can you create characters the audience will fall in love with?
We want to find the next generation of CBBC writers with fresh perspectives, original voices, and the ability to create unforgettable characters.
This opportunity is open to any writer who wants to write Children's drama. We are looking for 30-minute original TV scripts of unmissable and infectious storytelling, offering fresh cultural perspectives, tales combining authenticity with hope and joy, stories from a child's point of view, characters that will engage and surprise the audience, scripts that are powerful, emotional, and contemporary, shows that will work for the CBBC audience and channel but can dare to take risks."
For the full details, check out the website.
Anyway, now that's over with, let's get back to the business at hand shall we? The BBC writersroom posted a new CBBC opportunity today that looks really interesting:
"Do you have stories to tell that we've never seen before?
Can you create characters the audience will fall in love with?
We want to find the next generation of CBBC writers with fresh perspectives, original voices, and the ability to create unforgettable characters.
This opportunity is open to any writer who wants to write Children's drama. We are looking for 30-minute original TV scripts of unmissable and infectious storytelling, offering fresh cultural perspectives, tales combining authenticity with hope and joy, stories from a child's point of view, characters that will engage and surprise the audience, scripts that are powerful, emotional, and contemporary, shows that will work for the CBBC audience and channel but can dare to take risks."
For the full details, check out the website.
Monday, May 18, 2009
EastEnders, 8pm tonight!
If you're stumbling across this blog for the very first time, you may not be aware that tonight sees my debut as a writer on EastEnders. Get in! Very pleased and excited about this, for lots of reasons, not least because it's so difficult to get the opportunity to write for the show, let alone nab a commission.
In fact, it was this time last year they offered me a commission after my second trial script was a success (my first trial attempt in 2006 led to a rejection, harumph). I officially got the nod for the actual commission last December and finished writing the script in February.
I've called my episode "Taking Control". Nick turns the screw on Billy; Jean tries to get through to Stacey; Bradley won't take 'no' lying down, and Libby plays matchmaker between Chelsea & Theo.
If you're a fan of the series, I hope the episode lives up to your expectations. If you're not a regular viewer, then I urge you to check it out anyway, and you can laugh at my efforts (um, in a good way?), or applaud them, should it make a suitable impression. I thoroughly enjoyed the experience, and had a lot of fun writing the script.
Hope you enjoy it!
Preview clip & catch ups HERE.
Thursday, May 14, 2009
Q&A: Mark Wilkinson
Quite a bit happening at the moment. What with being in the middle of post-production on the short film (up and down to London quite a bit), chasing up other writing opportunities and doing student talks, there's the little matter of my EastEnders episode that airs next Monday (18th May, 8pm). Wahey, woo-hoo, wazaa!
Then, on Wednesday, there's the workshops for the Red Planet Prize, which I will be attending (perhaps not all day, maybe just the afternoon workshop). Mark Wilkinson, the winner of this year's Prize, did a Q&A for the Red Planet Prize blog a few weeks ago. You may have missed it. So, here it is in full in case you want to have a look. I'll post again on Monday for the exciting build up (well, for me anyway) to my EastEnders' episode!
---
Congratulations on winning the Red Planet Prize! Where were you and what were you doing when you found out?
I was on the way to work, Simon Winstone from Red Planet left a very brief message on my phone asking me to ring him. I waited a couple of hours before ringing back, convincing myself that I hadn’t won.
How long have you been writing?
I started about ten years ago on a film and television course at Leeds Metropolitan University. On and off since then – more off than on.
And how long have you been writing your winning script, The Ropes?
I spent about 10 months on research, character biographies and thinking about the structure of the series. Once I had an idea of where it was going, I worked my way backwards to find out where it should start. The writing of the actual script took about 3 to 4 months.
OK, how long did you spend on your first ten pages?
The first ten pages came relatively quickly, maybe a couple of weeks. But I spent a long time thinking about whether I should change them - because nothing really happens. It’s a slow introduction of the three main characters, there’s no car chase, meteor strike or plane crash. I just tried to set a tone, create some interest in the characters and show that I had some writing skills.
Did you have the rest of the script ready to go, or did you have to write and revise it while waiting for the 2nd round call?
One or two minor tweaks, on the whole it was ready and waiting to go.
What do you consider the biggest frustrations to be for a new writer trying to find his or her way?
For me it was a case of: I’ve written a script - now what do I do with it? Send it to BBC Writers Room and The Red Planet Prize – but who else is going to read it? If you’ve spent 14 months writing a script you’d like more than two people to read it.
Ever consider that it wasn’t going to work out for you?
Yes, I still do – fear and doubt are huge motivators for me. I still have a full time job outside of writing. The only thing I’ve done of note is win one competition. There’s still a long, long way to go before I’d ever consider thinking of myself as a writer.
What helped you get through the tougher times, in terms of your writing?
Absolute belief in my ability, however misplaced that may be. And that hard work will eventually be rewarded. I was absolutely committed to this script, I lived and breathed it. Nothing else mattered.
What’s the best bit of advice you’ve received, or take inspiration from?
“Write, always.” Something I’ve only recently heeded. It’s not easy to lock yourself away for 8 hours on a sunny day and write. But it’s got to be done. The more I write the more I seem to improve.
What are your favourite TV dramas?
The Sopranos, The Wire, Mad Men, Lost.
Favourite writers?
Apart from Tony Jordan! – well there’s David Chase as I’m a huge Sopranos fan and Mathew Weiner who wrote for The Sopranos and created the fantastic Mad Men. Paul Schrader, perhaps too much - as I spent far too long trying to write like him, instead of finding my own voice. Another favourite is Guillermo Arriaga and his trilogy of Amores Perros, 21 Grams and Babel.
What are your TV guilty pleasures?
The Hills on MTV – utter trash, but brilliant.
And finally, what’s next for you?
For so long it just seemed ridiculous to me that I could become a writer – but now I have a fantastic opportunity to make it happen. So it’s a case of more hard work to make a dream become a reality.
---
THANKS, MARK!
Then, on Wednesday, there's the workshops for the Red Planet Prize, which I will be attending (perhaps not all day, maybe just the afternoon workshop). Mark Wilkinson, the winner of this year's Prize, did a Q&A for the Red Planet Prize blog a few weeks ago. You may have missed it. So, here it is in full in case you want to have a look. I'll post again on Monday for the exciting build up (well, for me anyway) to my EastEnders' episode!
---
Congratulations on winning the Red Planet Prize! Where were you and what were you doing when you found out?
I was on the way to work, Simon Winstone from Red Planet left a very brief message on my phone asking me to ring him. I waited a couple of hours before ringing back, convincing myself that I hadn’t won.
How long have you been writing?
I started about ten years ago on a film and television course at Leeds Metropolitan University. On and off since then – more off than on.
And how long have you been writing your winning script, The Ropes?
I spent about 10 months on research, character biographies and thinking about the structure of the series. Once I had an idea of where it was going, I worked my way backwards to find out where it should start. The writing of the actual script took about 3 to 4 months.
OK, how long did you spend on your first ten pages?
The first ten pages came relatively quickly, maybe a couple of weeks. But I spent a long time thinking about whether I should change them - because nothing really happens. It’s a slow introduction of the three main characters, there’s no car chase, meteor strike or plane crash. I just tried to set a tone, create some interest in the characters and show that I had some writing skills.
Did you have the rest of the script ready to go, or did you have to write and revise it while waiting for the 2nd round call?
One or two minor tweaks, on the whole it was ready and waiting to go.
What do you consider the biggest frustrations to be for a new writer trying to find his or her way?
For me it was a case of: I’ve written a script - now what do I do with it? Send it to BBC Writers Room and The Red Planet Prize – but who else is going to read it? If you’ve spent 14 months writing a script you’d like more than two people to read it.
Ever consider that it wasn’t going to work out for you?
Yes, I still do – fear and doubt are huge motivators for me. I still have a full time job outside of writing. The only thing I’ve done of note is win one competition. There’s still a long, long way to go before I’d ever consider thinking of myself as a writer.
What helped you get through the tougher times, in terms of your writing?
Absolute belief in my ability, however misplaced that may be. And that hard work will eventually be rewarded. I was absolutely committed to this script, I lived and breathed it. Nothing else mattered.
What’s the best bit of advice you’ve received, or take inspiration from?
“Write, always.” Something I’ve only recently heeded. It’s not easy to lock yourself away for 8 hours on a sunny day and write. But it’s got to be done. The more I write the more I seem to improve.
What are your favourite TV dramas?
The Sopranos, The Wire, Mad Men, Lost.
Favourite writers?
Apart from Tony Jordan! – well there’s David Chase as I’m a huge Sopranos fan and Mathew Weiner who wrote for The Sopranos and created the fantastic Mad Men. Paul Schrader, perhaps too much - as I spent far too long trying to write like him, instead of finding my own voice. Another favourite is Guillermo Arriaga and his trilogy of Amores Perros, 21 Grams and Babel.
What are your TV guilty pleasures?
The Hills on MTV – utter trash, but brilliant.
And finally, what’s next for you?
For so long it just seemed ridiculous to me that I could become a writer – but now I have a fantastic opportunity to make it happen. So it’s a case of more hard work to make a dream become a reality.
---
THANKS, MARK!
Tuesday, May 12, 2009
Writers' Guild UK: Special Offer
It's the Guild's 50th anniversary next week and there's a special membership offer to celebrate (see below).
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50 is the magic number
The Writers' Guild of Great Britain is celebrating its 50th anniversary on Wednesday 13th May 2009 and, to commemorate this momentous occasion, we are offering 50 people the chance to join the Guild on its 50th anniversary for just £50.
This offer applies to Full members, who currently pay a minimum of £150 per annum, and Candidate members who pay £100. The offer applies to a new member's first year of membership only.
To be one of the lucky 50, call the Guild's Membership Team on 13th May 2009, between 9.30am and 5.30pm, on 01952 214 063 and quote 'WGGB Anniversary Offer'. You can pay your £50 over the telephone by credit or debit card and your welcome pack will be sent on within a few days.
Alternatively, members of the Writers' Guild of Great Britain Facebook Group can take advantage of the special offer by sending a Facebook message with their name and contact details to fellow group member Naomi MacDonald AND changing their status on 13th May to "Happy 50th Birthday to the Writers' Guild of Great Britain"
Please note that this special offer is only available on 13th May 2009.
We look forward to welcoming our 50 new members. What better way to celebrate our half-century!
---
Monday, May 11, 2009
Short Film Shoot, Cast & Crew
For a good while, it was just me, my script and my small office, thinking: 'gee, this would make a really good short.' Then, I decided: 'right, I'm gonna do it, let's make this sucker.' But as I tinkered with rewrites and wondered what to do, it was still me, my script and my small office.
Little by little, people started getting involved. First, it was the casting director, followed by the special FX make-up guy. Director of photography. Art director (actually, I lost two art directors before Miriam came on board at the last minute). Composer. And, most crucially of all, line-producer. I was doing okay (Film London's database being a great resource) but once I had The Amazing Mr Ben on my side, the crew took impressive shape through his wealth of contacts and smooth persuasive charm.
That was it: I had a crew! And boy, did they save my ass. I couldn't have dreamed of a better group of people to help me with the production. Their experience, expertise and goodwill (they all did it for free!) made the impossible possible. I am truly in their debt. Whenever they get thanked, it's usually as a generic collective: 'the crew'. So here, I'd like to bring attention to every crew member who was involved and who made such a huge difference to the film.
Their credits speak for themselves so they don't need a big-up from me but I heartily recommend each and every one if you're crewing up for a film. I've also provided links to their credits and/or website, where I could find them. Any crew members reading: if I've missed a link or a credit, let me know, and don't worry, a copy of the crew photo is on its way in the post!
Working from the sequential order of the unit list, I give you the cast & crew of Origin (for more photos and updates, visit/join the Facebook page):
CAST:
Katy Carmichael
Lee Ross
Jack Blumenau
Alex Avery
Peter Landi
EXECUTIVE PRODUCER:
Paul Sarony
LINE PRODUCER:
Benjamin Greenacre
PRODUCTION CO-ORDINATOR:
Sarah McKee
ASSISTANT PRODUCTION CO-ORDINATORS:
Angelika Schierz
Natasha Phelan
ART DIRECTOR:
Miriam Skelton
1st ASSISTANT DIRECTOR:
Gareth Tandy
2nd ASSISTANT DIRECTOR:
James Manning
3rd ASSISTANT DIRECTOR:
(Thu, Fri, Sun)
Gemma Read
(Sat) Bea Manning
RUNNER:
Kevin Lehane
(Thu) Simon Guerrier, Tom Guerrier
(Sat, Sun) Patrick Barry, Jonty Bates
PRODUCTION ACCOUNTANT:
Susan Lee
CASTING DIRECTOR:
Jeremy Zimmermann Casting
CATERING:
(Thu, Fri) Pam Katz
DIRECTOR OF PHOTOGRAPHY:
David Raedeker
FOCUS PULLER:
(Thu, Fri) Jon Howard
(Sat) Julius Ogden
(Sun) Leo Holba
CLAPPER LOADER:
(Thu, Fri) Kriss Dallimore
(Sat) Morgan Spencer
(Sun) James Davis
CAMERA TRAINEE:
(Thu, Fri) Jackson Taylor
COSTUME DESIGNER:
Katie Greenacre
EDITOR:
David Fisher
GAFFER:
(Thur) Bernie Rostoski
(Fri) Carolina Schmidt Holstein
(Fri, Sat) Eva Arnold
ELECTRICIAN:
(Thu) Dave Palmieri
(Sat, Sun) Alex Edyvean
(Sat) Alex Bickley
FACILITIES:
Tommy Traylen
GRIP:
(Thu) Malcolm McGilchrist
(Sat, Sun) Ed Lancaster
ASST GRIP:
Ben Gardner
HEALTH & SAFETY ADVISOR:
David Devine
LOCATION MANAGER:
(Thu, Fri) Sharon McGuinness
(Sat, Sun) James Shelley Jamieson
HAIR &MAKE-UP DESIGNER:
Wakana Yoshihara
(Sat & Sun) Assistant: Mia Botcher
SFX MAKE-UP EFFECTS ARTIST:
Stuart Conran
SCRIPT SUPERVISOR:
Caroline Bowker
SECURITY:
AR Location Services, Anthony Stagles
SOUND RECORDIST:
Ashok Kumar
BOOM OPERATOR:
(Thu, Fri) Dave Sohanpal
(Sat, Sun) Jillian Speed
STAND-BY PROPMAN:
Richard Hawkyard
STILLS PHOTOGRAPHER:
Oliver Lamford
I am also hugely grateful for the invaluable help of:
Dominic Capon
Lisa McDiarmid (MMmmmmackers!)
Helene Lenszner
Paul and his family at Chesham Way, Watford.
Georgina and her family at Chesham Way, Watford.
Bill Wilson at Hemel Hempstead Hospital.
Tim Williams at Black Park Country Park.
Craig Game at Panavision.
Kellie Goddard at Nimbus.
Andrew at Audiolink.
Friday, May 08, 2009
Short Film Shoot, Day 4
Sunday 26th April. The last day of filming. Just when we're really getting into our stride, it's all coming to an end. On my way to Black Park, where the climactic woods scenes are taking place (next to Pinewood Studios), I get lost and end up driving around Slough. Luckily, Black Park isn't too far away and I manage to find the location, and park my car in the allocated area.
Half way into my bacon sarnie (4th in four days, mmm), and looking forward to the day ahead, a crushing realisation hits me. I've locked my keys inside the car. My heart sinks. I'm told not to worry but it plays on my mind so I ask for someone to check if the passenger doors are open and I've simply locked my bag in the boot, or if everything is locked. A short while later, it's confirmed: the car is locked. Well, at least now I know for sure and I can worry about it later.
We start filming. Black Park is stunning. It's a public park and I would highly recommend a visit. The weather has held out for us too, which truly is a godsend. If it was wet and raining, I'm not sure if the actors and crew, or me, would have put up with it. No, it's a lovely day and we get good coverage of the characters arriving, looking for the missing Freddy. Then, we prepare for the big emotional scenes but we decide to keep them until after lunch so as not to break the flow for the actors.
Ben and Sarah (production coordinator) put on a picnic spread, a wide array of cold meats, salads, dips, bread, crisps etc, which is arguably the best lunch of the shoot. James Manning, the calm and gracious 2nd AD, rings AA to sort out my car fiasco. Within five minutes, they have the car open and my keys are found in the boot. James laughs and hands them over but I can't meet his eyes, I'm so embarrassed.
It's time for the big emotional scenes and once again, the actors impress with their professionalism and delivery. I can sense the shoot coming to an end as we get all the shots involving the actors, and it's a wrap for them. I give each a quick hug as they leave, holding in my emotions, as I still have a few shots to do of the woods. I don't get a chance to talk to them, or thank them, properly. We finish the woods shots, and that's it, IT'S A WRAP.
The crew de-rig and I stand there, somewhat shell shocked. Ben gives me an update on what's happening; the stock we've used, what's next, etc, but I start to crumble and finally have my teary moment, thanking him profusely for all his amazing work over the shoot. Without him, I don't know what would have happened. I've ran out of ways to say 'thank you' so I have to make up a new word especially for Ben: exceptionalistic. The bromance moment over, it's time for a quick drink with the crew, an embarrassing speech from me, and we all start to head home.
That's it. Done. In the can. What an experience. Loved every minute and learned a helluva lot. We've gone a bit over-budget and used up all our resources in terms of getting the film shot. Now, it's the edit and post-production, and trying to get the funds needed to finish the film, either through completion funding, more donations or more favours. Time will tell...
Half way into my bacon sarnie (4th in four days, mmm), and looking forward to the day ahead, a crushing realisation hits me. I've locked my keys inside the car. My heart sinks. I'm told not to worry but it plays on my mind so I ask for someone to check if the passenger doors are open and I've simply locked my bag in the boot, or if everything is locked. A short while later, it's confirmed: the car is locked. Well, at least now I know for sure and I can worry about it later.
We start filming. Black Park is stunning. It's a public park and I would highly recommend a visit. The weather has held out for us too, which truly is a godsend. If it was wet and raining, I'm not sure if the actors and crew, or me, would have put up with it. No, it's a lovely day and we get good coverage of the characters arriving, looking for the missing Freddy. Then, we prepare for the big emotional scenes but we decide to keep them until after lunch so as not to break the flow for the actors.
Ben and Sarah (production coordinator) put on a picnic spread, a wide array of cold meats, salads, dips, bread, crisps etc, which is arguably the best lunch of the shoot. James Manning, the calm and gracious 2nd AD, rings AA to sort out my car fiasco. Within five minutes, they have the car open and my keys are found in the boot. James laughs and hands them over but I can't meet his eyes, I'm so embarrassed.
It's time for the big emotional scenes and once again, the actors impress with their professionalism and delivery. I can sense the shoot coming to an end as we get all the shots involving the actors, and it's a wrap for them. I give each a quick hug as they leave, holding in my emotions, as I still have a few shots to do of the woods. I don't get a chance to talk to them, or thank them, properly. We finish the woods shots, and that's it, IT'S A WRAP.
The crew de-rig and I stand there, somewhat shell shocked. Ben gives me an update on what's happening; the stock we've used, what's next, etc, but I start to crumble and finally have my teary moment, thanking him profusely for all his amazing work over the shoot. Without him, I don't know what would have happened. I've ran out of ways to say 'thank you' so I have to make up a new word especially for Ben: exceptionalistic. The bromance moment over, it's time for a quick drink with the crew, an embarrassing speech from me, and we all start to head home.
That's it. Done. In the can. What an experience. Loved every minute and learned a helluva lot. We've gone a bit over-budget and used up all our resources in terms of getting the film shot. Now, it's the edit and post-production, and trying to get the funds needed to finish the film, either through completion funding, more donations or more favours. Time will tell...
Tuesday, May 05, 2009
Short Film Shoot, Day 3
We've been shooting the film in story order, pretty much, so the third day sees us move away from the house to cover the all-important scenes that occur in the hospital. This particular location was the most problematic to pin down, mainly because of budget but Ben, once again, manages to make the impossible happen and we secure an entire disused ward in Hemel Hempstead for a knock-down price.
Miriam Skelton, art director, does such a good job of dressing the set that I mistakenly think that the hospital has re-opened the ward for general use (good ol' Miriam; I nabbed her at the last minute and she came on board with bags of energy, ideas and enthusiasm, not to mention oodles of talent).
I'm particularly nervous and excited about the day's filming because the story significantly progresses around the hospital scenes, and there are more set-ups required to cover all of the stuff the actors are lined up to do. It's good to see Peter Landi as he rocks up to play the doctor. Just a couple of scenes but vital nonetheless, and he does a great job (thoroughly convincing as a doc).
The amount of stock I have left to finish the film hangs around me like a grey cloud but I try not to let it affect my mood and energy. I'm determined to do things as swiftly and efficiently as possible without compromising on quality. Luckily for me, the crew and actors are on top of their game, and the first part of the morning goes well. I even start to think that I could finish early so that everyone can enjoy some semblance of a Saturday night.
My brother Michael and his friend Kieran arrive on set (flying in from Dublin especially) and they are quickly dispatched to costume & make-up so that they can be extras. They're giddy as schoolchildren and bring an infectious good mood to the set (My brother: "I only work in computers, I don't do anything fancy like Danny." Me: "Don't worry, I'll be working in computers after this.") His presence gives me a real boost (thanks Mike).
We don't have the luxury of on-set catering for the weekend so we negotiate a deal from the local Indian restuarant, and it's curry for lunch! Delicious! But um, maybe not such a great idea as most of the crew, lights and equipment are all crammed into a hospital room for the remainder of the afternoon.
It's time to shoot the key scene of the day (the second most important of the film). I've been looking forward to it but know we can't overdo it. We do one rehearsal. Lee Ross does his take. Nails it. We have it. Move on. Katy Carmichael does her take. Nails it. We have it. Gate's clear. Move on. Jack Blumenau is in his SFX make-up and has to lie in a hospital bed all day, hot & stuffy, but he doesn't grumble once and gives his co-stars everything they need for their big moments. It's a wrap for the day. 6.30pm. Not exactly the 'early' I was thinking about, and I squeeze an extra half hour from David DOP to nab a couple of useful shots.
Post-wrap, I spend the evening with my wife and our Midlands-mate Jonty Bates (who's joined us as runner/extra for the weekend) walking Watford High Street looking for a nice bit of grub. We manage to find a decent kebab house, away from the teeming throng of scary Saturday night revellers. Mmm, curry for lunch, kebab for dinner. Parp. Roll on day four!
Miriam Skelton, art director, does such a good job of dressing the set that I mistakenly think that the hospital has re-opened the ward for general use (good ol' Miriam; I nabbed her at the last minute and she came on board with bags of energy, ideas and enthusiasm, not to mention oodles of talent).
I'm particularly nervous and excited about the day's filming because the story significantly progresses around the hospital scenes, and there are more set-ups required to cover all of the stuff the actors are lined up to do. It's good to see Peter Landi as he rocks up to play the doctor. Just a couple of scenes but vital nonetheless, and he does a great job (thoroughly convincing as a doc).
The amount of stock I have left to finish the film hangs around me like a grey cloud but I try not to let it affect my mood and energy. I'm determined to do things as swiftly and efficiently as possible without compromising on quality. Luckily for me, the crew and actors are on top of their game, and the first part of the morning goes well. I even start to think that I could finish early so that everyone can enjoy some semblance of a Saturday night.
My brother Michael and his friend Kieran arrive on set (flying in from Dublin especially) and they are quickly dispatched to costume & make-up so that they can be extras. They're giddy as schoolchildren and bring an infectious good mood to the set (My brother: "I only work in computers, I don't do anything fancy like Danny." Me: "Don't worry, I'll be working in computers after this.") His presence gives me a real boost (thanks Mike).
We don't have the luxury of on-set catering for the weekend so we negotiate a deal from the local Indian restuarant, and it's curry for lunch! Delicious! But um, maybe not such a great idea as most of the crew, lights and equipment are all crammed into a hospital room for the remainder of the afternoon.
It's time to shoot the key scene of the day (the second most important of the film). I've been looking forward to it but know we can't overdo it. We do one rehearsal. Lee Ross does his take. Nails it. We have it. Move on. Katy Carmichael does her take. Nails it. We have it. Gate's clear. Move on. Jack Blumenau is in his SFX make-up and has to lie in a hospital bed all day, hot & stuffy, but he doesn't grumble once and gives his co-stars everything they need for their big moments. It's a wrap for the day. 6.30pm. Not exactly the 'early' I was thinking about, and I squeeze an extra half hour from David DOP to nab a couple of useful shots.
Post-wrap, I spend the evening with my wife and our Midlands-mate Jonty Bates (who's joined us as runner/extra for the weekend) walking Watford High Street looking for a nice bit of grub. We manage to find a decent kebab house, away from the teeming throng of scary Saturday night revellers. Mmm, curry for lunch, kebab for dinner. Parp. Roll on day four!
Sunday, May 03, 2009
Short Film Shoot, Day 2
Ah, if only I knew on day one what I knew on day two. Not that day one was a disaster, far from it, but the second day finds everyone settling into filming and finding our feet that little bit more. Little nuggets of wisdom emerge: it's quicker to do another take rather than talk about whether or not you need another take; if you have what you need on take one and the gate is clear, then move on. And seeing as I shot almost half the entire stock on the first day - yikes, I thought I was being economical! - these cautions become forefront in my mind.
So, we get stuck in. We don't have Lee Ross today as all the scenes involve Katy, Alex Avery (who's playing Mike), and Jack (Freddy). The schedule looks more straightforward than day one but I know there's a lot to get through, especially if I'm going to get the coverage I think I need to make the scenes work. Jack's SFX make-up becomes more pronounced, too, and that's going to be a big factor in one of the key scenes between Katy and Alex, so there's a lot to do.
My lovely agent surprises me by visiting the set, and brings me a bottle of champers and some biscuits. Aw. I put them aside and forget all about them, so some lucky crew member no doubt picked them up later. Filming goes well and I get greedy for shots, asking for close ups & cutaways to make sure I'm not stranded when it comes to the edit. Gareth Tandy, 1st AD, nudges me along to keep me on schedule but I know I'm doing something right when he nods and agrees to some of my extra requests.
My wife arrives in the afternoon; the first time she's seen the crew and what's involved. We haven't seen much of each other during pre-production and while I've been keeping her updated on what's been happening, she didn't expect the proper hubbub of a film set; all the lights, equipment and trucks, not to mention the professional people working on my behalf. She freaks out when she hears someone on a walkie-talkie saying: "Danny wants an apple, will someone meet me half way?" This directing lark is clearly going to my head.
Towards the end of the day, we do pick-ups of what we didn't shoot from the day before - scenes that involve Lee but seeing as he's not there, Gareth feeds his lines off-screen for the benefit of Katy. They've worked together before and Gareth's got everyone at ease with his good humour and efficiency, so there's no problems. We get all our set-ups done and finish on time, more or less. That's it, no more house scenes. Half-way through the shoot. It's Friday but I have no sense of day, date, time or place. I'm feeling more comfortable about filming but I got to bed nervously excited about the next two crucial days.
So, we get stuck in. We don't have Lee Ross today as all the scenes involve Katy, Alex Avery (who's playing Mike), and Jack (Freddy). The schedule looks more straightforward than day one but I know there's a lot to get through, especially if I'm going to get the coverage I think I need to make the scenes work. Jack's SFX make-up becomes more pronounced, too, and that's going to be a big factor in one of the key scenes between Katy and Alex, so there's a lot to do.
My lovely agent surprises me by visiting the set, and brings me a bottle of champers and some biscuits. Aw. I put them aside and forget all about them, so some lucky crew member no doubt picked them up later. Filming goes well and I get greedy for shots, asking for close ups & cutaways to make sure I'm not stranded when it comes to the edit. Gareth Tandy, 1st AD, nudges me along to keep me on schedule but I know I'm doing something right when he nods and agrees to some of my extra requests.
My wife arrives in the afternoon; the first time she's seen the crew and what's involved. We haven't seen much of each other during pre-production and while I've been keeping her updated on what's been happening, she didn't expect the proper hubbub of a film set; all the lights, equipment and trucks, not to mention the professional people working on my behalf. She freaks out when she hears someone on a walkie-talkie saying: "Danny wants an apple, will someone meet me half way?" This directing lark is clearly going to my head.
Towards the end of the day, we do pick-ups of what we didn't shoot from the day before - scenes that involve Lee but seeing as he's not there, Gareth feeds his lines off-screen for the benefit of Katy. They've worked together before and Gareth's got everyone at ease with his good humour and efficiency, so there's no problems. We get all our set-ups done and finish on time, more or less. That's it, no more house scenes. Half-way through the shoot. It's Friday but I have no sense of day, date, time or place. I'm feeling more comfortable about filming but I got to bed nervously excited about the next two crucial days.
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