Harry Wood’s Blog: This is the end…………..of the film shoot

Lots of red eye? Or a cast & crew of vampires? Who can tell...we did make a horror film..

Apologies that this piece has arrived so late. It wasn’t some kind of cheap ruse to lasso you back into our world, just when you thought it was okay to go on-line; no, it’s just that there have been houses to clean, day-jobs to return to, children to feed, and shrapnel to remove from our souls.

The last time I wrote, it was Day 11, and we were staring down barrel of the frenzied final furlong of the last three days. Frenetic they were.

There is, I am sure, a natural human tendency to get a little giddy and be tempted to take one’s eye off the ball a little when approaching the end of a project, but there was no such slippage on this shoot, because there simply wasn’t time. I must confess, when I saw the shot-list for the last two days, I was – once again – a little concerned by the scale of the Director’s ambition, but I am pleased to say that I have once more been left with the feeling that I have underestimated him, and failed to heed Doc Brown’s famous adage: “if you put your mind to it, you can accomplish anything!! “.

The penultimate day of shooting (our last in the house) saw a deluge of blood for the cast, a plethora of challenges for the make up artist, the creation of a ridiculous lighting rig to enable some spectacular shots from impossible, vertiginous angles, and considerable danger for our lead actor, as he got himself in position for the final shot of the film. You know you’re getting old when, instead of thinking “wow, that’s amazing”, your internal monologue is saying, in David Mitchell style “hang on a minute, I’m not sure if we have the Public Liability Insurance for this”.

(Turns out we did have insurance after all….phew)

As if we didn’t feel we’d challenged ourselves enough in the first thirteen days, the final day of shooting brought with it the challenge of capturing some essential – and essentially dry – external scenes at a beautiful Seventeenth Century church high in the moors above Leeds. The bruised sky threatened to disgorge a ruinous squall upon the cast, crew, extras and equipment throughout the day, but in keeping with the rest of the shoot, luck seemed to be on our side. The sound recorders ploughed on patiently and valiantly against the incessant wind and flight-path (no doubt making them yearn for the relative comfort of the house), whilst our costume and make-up departments made offices from a caravan. We would like to extend a big thank you to all our extras, who displayed admirable patience on the final day, to Paul for the use of his van, and to our most resilient of runners, Natalie, for the endless shuttling of cast and crew between church and impromptu green room (the caravan). The most surreal moment of the day?  The group of male cyclists who passed us heckling “alright, doggers!”.  Sadly, my eloquence escaped me (Amen to that) at the time, but lads, if you’re reading this, I’d like to remind you that you’re full grown men who like wearing neon lycra in public. I think that’s called The Wit of the Staircase………

Our final set of fine shots in the bag, we wrapped at 4 (ish) on the Saturday, and amazingly without any ‘pick-ups’ left to do on the Sunday. I found that the final wrap was accompanied by a strange mix of exhilaration and sadness. Five hours of film, shot in two weeks: old school.  As when looking back on any intensive expedition in a short period, time seems at once stretched and compressed – sometimes it feels as if the shoot was interminable, at other times over in a flash.

Besides learning a great deal about the perils and triumphs of – what was to me – an alien artistic territory, and meeting a host of lovely and talented people, my overriding impression, as someone who has been largely involved in music, prior to this, is how bizarre the process making a feature actually is. Not only is film a conflation of pretty much every other art form, but it seems to me so compartmentalised. There were so many individuals working towards to their own objectives;   single-minded, yet constantly and acutely aware of how their own work must tessellate with other specialties with which, ostensibly at least, they have nothing in common. It’s not that the small pieces of the process were not a joy to behold in their own right (they definitely were), but when musicians perform or record a piece of music, there is usually a tangible point of common reference by which the players can envisage how it might eventually sound, and such a common ground doesn’t seem to exist in original film-making. Yes, all cast and crew have a script and a call sheet, but ultimately they must furrow their own ground, without the overarching vision, because this only really exists in the mind of the director. I have talked a lot already about the gap between the script and the cinema, and the wizardry which must occur between the two, and although we are but half way through the process, I left the shoot with an even greater respect for what occurs on set, because it is magic which is conducted largely in the dark, so to speak.

So what now? Once the post production team (comprising editing, sound design, composition, grading) has been assembled, it is not so much a case of putting the jigsaw together, but deciding on how to fashion the fragments that are already in the box into pieces which will fit together to make the picture. It will be a Herculean task, and I am sure at times it will be agonising, but it is going to be very fun. Aside from my own trepidation and excitement about the soundtrack (getting the rough edit will be like Christmas to me, and I’m hoping it will come early this year!), I think we have a lot of reasons to feel confident:

  1. Although we still have a lot of money to raise, we garnered enough money for the shoot with only words on a page, and therefore feel extremely positive about raising enough for post-production with the ultimate currency: great shots on the screen.
  2. We did it. We said we would shoot a feature film which we would be proud of, and we have. If that is not enough to galvanise us, then I don’t know what is.

Although we will be keeping in touch throughout post production, we would like to thank everyone who has been involved so far in making the film, and everyone who has read the blogs and supported us so far – morally and financially. If you want to get in touch, drop us a line: you know where we are, and we would love to hear from you.

‘til soon,

Harry

 

 

 

 

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They think it’s all over….

…and it is now!

Ladies and gentlemen we are wrapped!!!!!

BUT not going to blog now as I am off for a VERY well deserved drink so expect a mammoth blog tomorrow..or maybe Monday depending on the hangover :-) :-) :-)

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There will be fake blood…

Sorry this is late but as you will read we had a late night last night…again! Over to Harry for today (yesterday’s) installment…

The last time I wrote about the film, we were about to take a solitary day off from the shoot.  Any fears about momentum being lost and it taking some time to get back up to the pace at which finished last week were allayed. The transfer window has now closed, and a 1st AC and a runner have been replaced (it was scheduled and not acrimonious!) – missed, but the adjustment seems to have to been managed valiantly, and the two new members have acclimatised at the required pace.  There has been no limbering up since returning to the house – we’ve gone from standing still to full speed, and so far without any major disasters. If the pressure of the impending finishing line which I alluded to in my last blog is exerting itself on the cast and crew, the results are not manifesting themselves in an obvious way. Some of the most intense and emotionally demanding scenes – including the film’s climax – have been completed in the past few days, but all members of the ensemble have continued to pull together with admirable diligence and calmness. Our protagonist has yet appeared impervious to stress, which is beginning to alarm me. However, he is not out of the woods yet! Tonight we must wait for the sun to go down before executing some pivotal external scenes, which cuts down on downtime for everyone.

So, two more days. What will the frenzied final furlong  hold in store? Tomorrow promises to serve up the greatest challenge for the make-up and art departments, and indeed for the whole crew  – I cannot give anything specific away, but suffice to say there will be fake blood by the bucketful, tears and tears. Then Saturday has been set aside for the biggest external scene. We are all keeping our fingers crossed for a clement weather forecast, as there is no room on this shoot for second chances.  Then there are pick-ups. Endless pick-ups. And all this is of course prior to the small matter of post-production. From the killing floor to the cutting floor.

Away from my current daytime identity of rebel without a clue, fulfilling the role of filling rolls, and returning to my perspective as the composer, I can feel what was a barely perceptible nugget of anxiety – when I first arrived on set – snowball in my stomach,  shifting inversely to the creeping sense of relief and elation experienced by the majority my colleagues. Parts of the script that I and the writer/director thought were obvious markers for particular musical pieces have to be viewed again afresh, because nothing is obvious anymore. This goes back to what I was saying earlier about the gap between script and movie, and the magic that occurs in between. I began writing a soundtrack to a script, and must resume after that script has mutated and become a film. The slate has been cleaned completely, in order to be sullied once again with the most chilling and repugnant of soundscapes. The greater the quantity and quality of footage, the higher the pressure to provide a soundtrack to match it. Already, I can tell it is going to have to have to go above and beyond what I have written before. But that’s a good thing, right? I think both film viewers and makers will agree that a horror film can be made or broken by it’s soundtrack , and I would rather fail trying to do something terrific than submit something mediocre.

It is 7:50 p.m., and we are 11 hours into today’s shoot. In spite of this, as I leave the set our lead actor has just summoned his most arresting scene, and the crew are constructing ever more innovative means of building and adapting materials to make sure each shot is as good as it can be in the time given. Impressive…as always.

 

There has been blood, sweat and tears, and there will be more. Thanks for reading this and supporting us.

 

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Film shoot: Day 11 – A word (or 674) from the director…

Apologies to all for this tardy blog entry; the process of shooting Heretic has – as my fellow bloggers Beth and Harry have already eloquently described – been extremely busy and strenuous, and so time has been at a premium thus far.

So, being a first time director, what can I tell you all about the process?

Well…as the old axiom goes, nothing worthwhile comes easy.  And boy is that axiom no truer than on a film set.

I have read many articles and books on the making of other films, and the incredible difficulties often encountered in doing so.  From the well-documented disaster that was the making of Apocalypse Now (heart attacks, cocaine bingers, alcoholic lead actors, constant weather problems), to disagreements between Ridley Scott and the crew of Blade Runner, who wore t-shirts in protest of the director’s pro-English attitude and, also re-christened the film ‘Blood Runner’ after the amount of retakes he kept requesting.

Film shoots can be extremely taxing for all involved, especially on a low-budget shoot like Heretic, where we have to shoot a lot more footage every day than the average film because of the timescales and money involved.

None of the reading I have done beforehand could ever really prepare me for how difficult and stressful it has been to date.  So much so that, after a couple of days, I seriously started to think – ‘how the hell can I do this every day for two full weeks???’

But, on day 4, our on-set editor Carey began showing us clips of the footage, and the old axiom became true again, and we began to see the fruits of our labour.

And it looked amazing.

The efforts of every person involved in the making of the film to date (from its inception, pre-production, and the shoot itself) were there to behold.  Suddenly it became clear why it was so hard.  Because making something worthwhile is really really difficult, and there are umpteen moments along the way where any one person involved could settle for less, to take the easier route for a less stressful experience.

  • I could have written less re-drafts of the script
  • Beth could have accepted any of the pre-productions issues we encountered (lack of money, losing locations, employing actors or crew we weren’t happy with)
  • We could have settled for raising less cash, and got an inferior camera and lighting setup

On the shoot:

  • Jamie could accept bad framing for a shot
  • Dan could light a scene in an easy (but uninteresting way) to save time
  • Jonny could allow sound to be recorded in the knowledge that it would prove a nightmare in post production
  • Niina might not bother to redress a set properly because – in all likelihood – the audience won’t notice differences from scene to scene
  • Rachel could allow actors onto set with less than perfect makeup because of the time constraints involved
  • Tamsyn could allow us to run over each day, allowing us to get more shots but risking actors and crew getting more and more tired
  • Actors could put in a substandard performance after several takes
  • I could allow any and all of these things to happen

But no one does.  Because everyone is a consummate professional and seeing the footage that Carey presented on day 4 proved that we are succeeding in walking the line between getting quality footage and staying on a tight schedule that will mean by the end of the two weeks we will have enough footage to cut together a quality feature length movie.

On other shoots maybe many or all of these things are allowed to slip. But not on ours.

So far so good then…

But it is extremely tiring and extremely stressful.  And I commend EVERYBODY involved for their work so far.  The finishing line is in sight, we are on the home straight.

Nothing worthwhile comes easy. But it will truly have been worth the pain.

 

Pete.

 

 

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A shot in the dark

It’s a day late but worth the wait! Take it away Harry…

It’s 6:45 on the morning of Bank Holiday Monday, and we’re just about to pack-up after an arduous night’s filming in North Bar, Leeds’ famous purveyor of strong Northern European beer. The three scenes we came here to shoot have just been wrapped, the cling-film on the customary sandwiches  unwrapped. I have that prickly-skin ‘up-all-night’ feeling, and my mind and body is in disagreement about whether it is day or night. Another part of me feels as if I have been the victim of some kind of sick joke; as if a sober and interminable night on these premises is some kind of ironic penance for the countless English pounds I have handed over the bar in the past decade.

On any given days shoot in our primary location, the house, there are a plethora of potential issues: lighting, camera, costume, sound recording, make up, set design and continuity. These are by no means containable – an issue in one department will always have a knock-on effect in another – but the highest price to pay in this context is a delayed wrap time. In contrast, this morning’s bar scenes not only had to be captured in a miserly 8-hour timescale, but shooting them brought a deluge of more surreal and less tractable obstacles: in short, Leeds’ night-life. Anyone who lives in Leeds will know that Bank Holiday Sunday night is like Saturday night multiplied, and as a result, this shoot had to contend with a representative sample of the city’s  revellers, brawlers and gawpers (my favourite three quotes from the passing public: “what are you shootin’, is it Emmerdale?” “I’m an angel from outa heaven”; “I will f**king bang ‘er out”), not to mention the irrepressible noise from the two adjacent clubs, rendering the sound recording all but futile.

I’m feeling the need to take my metaphorical hat off to the crew and cast, who – in the face of the above mentioned adversity, in a sleep-deprived state – kept to their prescribed roles with an almost alarming degree of calmness and efficiency. In such conditions, it would have been understandable for tempers to fray, but there was no such tumult, and I am constantly impressed by the persistent quality of the cast who, in re-shooting the same scenes over and over again, never compromise on quality in their performance. Yes, the script is superb, but the writing is not enough on its own. This shoot confirmed to me that the psychological complexity of the characters is being skilfully represented by actors of the highest calibre. The make-up and costume departments, unavoidably reactive to the needs of cast and demands of the crew, were unflappable and stepped up to the mark in difficult conditions, and as a result the pictures look terrific.

So the balance sheet reads: 9 days down, 5 to go. With a change and a rest (Monday was the sole day off), it is hoped that any house-related cabin-fever  has been banished, and the cast and crew can return to the house and summon the gusto required to finish the film. There is undoubtedly a feeling amongst the team that we are on top of the hill, and about to embark on the descent to the finish line. Alongside this feeling, however, will arise an increased anxiety with regard to time pressure. Besides the scenes yet to be shot, there is a cumulative collection of ‘pick-ups’ (in places perhaps where it is acknowledged that the shot wasn’t as good as it could have been, for any number of reasons – lighting, background noise, continuity) which can no longer be deferred to the second week, because we are in the second week. The psychological cushion of time has been taken away, and any action that needs to be included in the film must be committed to camera before Sunday.

In my time so far on set, I have seen enough to confirm that the uncompromising ambition and determination of the director and producer has been at least matched by their indefatigable work on set, and reflected by the cast and crew they have selected to work on this film. If my limited time looking over the editor’s shoulder is anything to go by, the work already undertaken has put us well on the way to bringing a sensational script and bunch of characters to life, or indeed, to death.

‘til soon,

Harry.

 

 

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The horror…

No real blog from me today as I didn’t stay for the whole night shoot last night so Harry (who did brave the full 8 hours!) will be blogging about it tomorrow.

I did go into Leeds for the start of the night shoot to drop off food and help set up and it was a very, very eye opening experience!

Firstly, being in the middle of a city on a Bank Holiday weekend when everyone else is drunk and you are not is extremely surreal. Add to the mix that you are trying to move equipment and get things done at pace and you have a recipe for total disaster! But once more the crew pulled out all the stops and did us proud setting the bar up in record time and under difficult circumstances.

The other thing that you notice when you are sober in a city of revelry (apart from how little people wear despite the chilly weather!) is how loud everything is. Shouting drunks, cackling hen parties, pumping base, even tone deaf karaoke - it is all happening. And none of it is meant to feature on the soundtrack of the film so our sound department definitely had their work cut out for them.

And finally on the drive home at 2am I had to deal with the ultimate casualty of the bank holiday weekend – a drunk on a bicycle. Not sure which lane of the road he wanted to be in but I am sure he doubled his trip home with his weaving about!

Harry will give a full account of the shoot tomorrow. Until then enjoy your holiday Monday :-)

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The mechanics of filming

Hello

I am back to blogging again after having a couple of days off for Harry to take over. Not that there is ever an idle moment during the shoot! There has been plenty of prop buying, van hiring, food preparing and organising of cast and crew.

Tonight is the dreaded night shoot from 12.30 until (hopefully!) around 7am. The entire cast and crew is de-camping to the wonderful North Bar in Leeds City Centre to capture an important scene which they have kindly agreed to let us film in their fantastic bar. Once more the logistics of moving  twenty-three cast and crew members plus full lighting and camera rigs have proved challenging and, at times, downright annoying so thanks to Chris Elliot (2nd AD) for his tireless efforts in marshalling us all along.

So yet again it is a shortened blog today but I thought I would just explain some of the mechanics of the film shoot for those who might never have been on a set before.

I have no idea how other sets work as this is my first feature film so if this is not the way things normally work then please forgive me but it works well for us! At the beginning of each shoot day the Heretic heads of department get together and walk through that day’s shot list in the house, going through the mechanics of each shot and talking through lighting, camera, sound, props, make up and costumes. This way each department has a clear idea of the structure and time-scales of the day and each department knows what will be expected for each shot so that if any need a specific amount of time (for example if make-up has a series of special effects to do on an actor or props need to re-dress a room) then this can be worked into the schedule.

For each shot there is a set up time during which lighting erects the lighting rigs, sound decide where they will record from and mike up the actors, make-up and costume check where the actors are in the time-scale of the film for continuity and check photos to make sure the make-up and costumes correlate, the production design department check that they are happy with each set and Pete runs through the action with the actors and has rehearsal. Once everyone is happy with the shot we rehearse the actors and sound to make sure the shot looks and sounds right. Then Tamsyn (1st AD) yells ‘Quiet please, going for a take’ and woe betide anyone in the house who is still walking about, cooking or chatting! Tamsyn will then yell ‘roll sound’. Sound check they are happy and recording and yell back ‘sound speed’, the clapper board is then deployed before the cameraman yells ‘camera ready’ and then finally Pete calls ‘Action!’. The crew is then absolutely silent and still as the cast work their magic before Pete yells ‘Cut’at the end of the take. If we need to do it again everything is re-set and the whole process starts again but if everyone is happy Tamsyn will yell that the shot is complete and we are moving on and then the whole procedure starts again for another shot.

The favourite time for cast and crew is when Tamsyn calls ‘That completes scene 64 (for example) and filming for today. That is a wrap’ This is when everyone breathes a sigh of relief and happiness as we have wrapped for the day and people can sit down, eat and relax for the first time. So far because of the hard work of both cast and crew and the continued fantastic AD-ing from Tamsyn we have wrapped on time every night so let’s hope the same happens tomorrow morning and everyone can enjoy their day off!

Back Tuesday so until then enjoy Bank Holiday Monday and think of us when you are relaxing tonight!

 

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Day 6 – Smell, Fire and Determination

Day off for me from blogging today. Over to our composer, Harry, to narrate his first day on set…

………………………………………………………………………………………………………………………………………..

Having filled forty bread rolls with ham and cheese, and transferred the chicken casserole to the slow-cooker, Bethany Clift is lovingly helping the props manager append the severed finger of a rubber glove to a foot-pump, later to be sewn into a freshly (or not so freshly now, thanks to the infernal August heat) purloined pig’s heart. Such is the level of multi-tasking required amidst the wider role of producing and production managing an independent horror film, shot on a budget which would make Eric Pickles wince.

Besides being made in West Yorkshire, and more than occasionally painting a hideous picture, Heretic thankfully has very little in common with Eric Pickles.

The film is in its sixth day of filming, and the atmosphere on set is tense: the 1st AD is dictating, with a seemingly unflappable patience, the minutes until the next set-up; the director and DOP are blocking through the next scene whilst the over-heating camera cools down in the corridor; two actors deliberate over the execution of a crucial line whilst a third is being expertly adorned with stab wounds to her neck to compliment the tears applied to her face; the sound recorders are placing two microphones above a door in the porch, whilst discussing how external dialogue can be captured later in the evening without aggravating the the neighbours; the lighting crew are using words I have never heard whilst considering the implications of sunlight, which the production designer has already done her best to eclipse through the use of boards and gaffa tape; upstairs, the runners are hovering and tidying the last room used and prepping the next for future shots.

Thinking about it logically, day six of a fourteen-day shoot is perhaps likely to be one of the toughest and most thankless. It’s feels like an aeon since day one – the weariness is setting in, and the Lemsip is coming out. The half way point is yet to be reached, and it feels as though there is a Sissyphusian mountain to climb. However, a large group of people – most of who had never met one another before – are pulling together to bring an inspired script to life, and it is a joy to watch.

Today was my first day on a feature film set, and the overriding impression was its ability to constantly mix the exhilarating with the mundane, the hair-wrenchingly agonising with the heart-wrenchingly triumphant. A  frustration made all the more virulent by waiting far too long, with a rumbling stomach, for the right take in the right light, but frustration is quelled in an instant when it is realised that the elusive shot has been captured.   And that’s when you realise that it’s not just the embarrassingly rich tapestry of skills combined with the patience of, well, of a Catholic Priest, that are going to make this film a success, but the emergency runs for gaffa tape and markers from the hardware shop, the buying of the crisps, and the scrubbing of costumes.

It’s 1 a.m., and I’m finally winding down after finishing on set at 10 p.m. I’m up at 6:30 tomorrow for an 8:30 Crew Call, but I can barely wait (and certainly cannot sleep). I’m addicted. The low point of today? Either having to uproot the indefatigable make-up artist and all her wizardry from the green room to kitchen, after the smoke machine nearly set alight, and the fire extinguisher was deployed by an over-eager fire marshal. Or perhaps it was the smell of raw offal (no, it wasn’t for our consumption – the budget isn’t that low), which I can’t dispel from my nostrils. The highlight? Knowing that when I am in the cinema watching Heretic, long after the soundtrack has been married to the ever increasing array of beautifully hideous footage, I will not only be watching a film, but also had a hand in evoking the majesty of its creation.

Harry

 

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The Wall

Well, it is day six of the shoot and we are now more than a third of the way through.

Good news, yes?

Yes! Very good news. I am very happy…sort of.

I am sure that I speak for the rest of the cast and crew when I say that the wall is looming and in some cases (mine!) it has already been hit.

Years ago when I made my first short film I worked for months on the screenplay, casting, producing and directing and then, three days before filming, I lost all enthusiasm and just couldn’t drag myself to work on it any more. That is when a very wise person (and I can’t remember who it was for the life of me!) told me that with any project there is a moment where you want to give up, when everything seems too much like hard work, when all the obstacles in your path seem insurmountable and when there seems no option but to just walk away. This is the point at which some projects fall by the wayside, the point at which the decision is made (consciously or not) as to whether the project is of worth and worthy of continuing or whether you are going to take the path of least resistance and let the project slowly slip away.

Those of you who have been following Heretic from the beginning will know that we have reached these decision points before on our journey – when we couldn’t find a church location last year, when Pete had to re-write the whole screenplay for a new location, when we lost our major financial backer and even as recently as three weeks ago when we still didn’t have a main location or enough budget to finance the shoot.

But we, and the people who have supported us on our journey, have believed whole-heartedly in the film from the very beginning and I cannot think of a time when I honestly thought that Heretic would not be made.

And of course we are not about to give up now! The dream is becoming reality. The rushes that we have are beyond anything I could have believed possible on the budget we are working with. The cast are absolutely nailing their performances every single time. I couldn’t be any more pleased and excited by what we are filming.

However, the reality of low-budget film-making is definitely hitting home hard. No sleep (and even less when you have a three month old baby!). Constantly trying to find an extra £50 here or an extra £100 there for one more prop or piece of equipment. No room for error or mistake on the shooting schedule because we have so much to shoot each day. Always up against the clock to fit all the shots into the day. Continuously having to try and schedule pick ups in for the end of the day. And because we have no catering department always worrying about how to feed 25 hungry cast and crew members something delicious and nutritious on a strict budget and within a half hour lunchtime break!

This is why six days into the shoot I feel I have hit the wall and am losing the energy to carry on – and I don’t even have a particularly hard job on the shoot so goodness knows what it is like for Pete and the other heads of departments!

So I would like to end this post with a massive THANK YOU! Thank you to our wonderful cast and crew who have yet to complain, moan or even mention that they are knackered and are still four days away from a day off. Thank you to my Mum and Dad who, as well as helping with catering and transport, have taken over responsibility for Sam and are doing such an amazing job of keeping him happy and entertained whilst Mummy and Daddy are on set all day (we just hope he still recognises us by the time we are finished!) And thank you to all our family and friends who have and continue to support us so wonderfully both financially and emotionally. And a special thank you to the family and friends who have let me ring them up and vent by moaning and crying and screaming down the phone at them over the last couple of days – you know who you are and you are the best!

More tomorrow :-)

 

 

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Just a quick one today…

…because we are just about to head off to our exterior location for this afternoon’s shoot.

I thought I would quickly list everyone working on the film so that if I mention people in the future it won’t be too confusing!

Director – Peter Handford

Producer / Production Manager – Bethany Clift

DoP – Jamie Havill

1st AD – Tamsyn O’Connor

2nd AD – Chris Elliot

3rd AD – Andrew Brittain

Sound Recordist – Jonnie Khan

Sound recordist – Joe Hynter

Production Designer – Niina Topp

Make up and Special Effects Artist – Rachel Silk

Gaffer – Daniel Beckett

DIT and on-set editor – Carey Moyle

Spark – Tom Purdy

1st AC – Matt French

2nd AC – Jake Speed

Assistant to the Director – Jonathan Lamb

Production Design Assistant – Eloise Coveny

Production Design Assistant / Camera Department Runner – Kevin Haworth

Runner – Jonny Hicks

Runner – Natalie Emmines

Catering – Buffin’s Muffins

20 crew + 7 cast + 15 days of shooting = 1 terrifying and gripping horror film – recipe for success if ever I heard one!

More tomorrow :-)

 

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