Well this is a first. It’s the end of the year and I am just so underwhelmed that I’m not sure how to do this. I mean, what a year we’ve all had… and to think it started out so well.
[I’m well aware that many have had really bad year and suffered much loss. My heart goes out to you and yours. I really hope that next year is much kinder to you; especially kinder to those who’ve suffered economic hard ships, bereavement or have been directly affected by the virus.
SECONDLY – And to those of you who are new here, please note this sin’t a humble brag kind of thing, this is just my assessment of 2020, how I’ve done as a [creative] human being and me trying to work out what I want to focus on in 2021, assuming any of us have a choice…. that being said, I know there’s a group who believe we shouldn’t share what we’ve achieved, because it might depress or stress others out. If you’re one of those people, don’t read this. Simple…. This is merely my story and how I have always recorded progress over the past year.Unlike many people I do set goals for myself and I do try to hold myself accountable. – it is the only way I can force myself to achieve anything. I am a firm believer in celebrating your success if you’re lucky to have any, and to acknowledge the effort you’ve put in where it is due.]
Travel – I had such high hopes. Sadly there wasn’t any, save for January when Darwin and I shot a film in Italy and then in February when Suss and I had a weekend in Karlstad for Valentines. Because once the pandemic hit, I was either on lockdown, or I couldn’t travel to any of the regions we’d planned on, due to how other countries viewed Sweden’s approach to controlling the pandemic. And we ended up cancelling three trips this year and didn’t get complete refunds on two of them. But other than seeing family, which I very much wanted to do, I also hoped to do quite a bit of travel to my first film festivals abroad and network with other filmmakers and none of that happened.
Family – luckily there were no serious family illnesses or deaths this year, everyone has stayed safe and well. But I did miss my Mum’s 70th and the birth of two new additions to the family due to cancelled trips. At this rate, they might be in college by the time we get to see them…
Health – I know my mental health has suffered. And I’m not as fit as I was, despite doing some training. I’ve definitely drunk more this year, to kill the boredom / break up the day, and missed out on the gym, since the virus hit and I stopped going in March – I mean people at my local gym were unhygienic before Covid and never cleaned the machines after use, so no way was I risking it during Covid. But I’ve done my best to meditate, get some exercise and dose up on vitamins and light where possible. But this especially dark and warm Swedish winter has been brutal on everyone’s mental health.
Filmmaking – See below for a blow by blow rundown of all my filmic adventures across the last 12 months. There have been many and for that I’m truly thankful. it could have been the complete opposite and no one would have blinked. So I am aware of how lucky we are. But also acknowledge how hard we’ve worked to get here. The key high level detail is that we achieved our three goals for phase 1 of our plan: 1, Make films worth of festivals. 2 Win some awards if possible. 3. Get distribution / find an audience. All three of those goals were achieved this year. And now phase 2 of the plan can begin, to move into doing feature films / more ambitious projects. Currently, we’re on track to finding that audience and launching bigger things. I think the 15 awards this year, getting a lot of writing done and making 5 short films this year, despite the virus, has really helped. And if it wasn’t for this, God knows what state I’d be in now. I think although it caused some stress, it also got me through some hard times. But I’ve also not been so focussed on my own goals, putting other people’s projects forwards above my own desires, mainly to keep moving forward when I hit some initial roadblocks of my own and that’s got in the way of some passion projects – so I need to keep my own goals in mind next year. But also none of this would have happened without the trust, faith and passionate contributions from our collective teams on these projects!
Writing – I wanted to get a feature script written and I did. I ran into problems on my own but found that I could definitely help others working on their projects, when their stories were sufficiently developed but needed refocussing. But I knew I needed more work on developing better feature plots and I’ve devoted a hell of a lot of time and energy to doing so. There’s still aways to go, but I’m putting the work in and it is paying off; day-by-day I am less of a pantser. Overall I’ve worked on 8 shorts and 2 feature scripts this year and developed /fleshed-out some interesting ideas to follow-up on for future projects in 2021. And there’s been a refreshing amount of potential new ideas.
Self-development – I’ve done a total of 19 webinars and courses, read a screenplay a week, and a number of useful books to help develop myself, despite work and lockdown depression. I’ve sadly missed two key targets (one regarding a physical challenge, which ended up being missed mainly due to work demands / meetings booked when I usually preferred to do this thing, and another that was just not possible due to lockdown). I basically bumped those last two into next years’ goals when the year went south.
Work – this has been a real ups and downs kind of year, as I’ve been put on notice of unemployment twice, on furlough once and I’m notice of unemployment again. Who knows if I will be working or not in 2021 beyond February. Everyone’s got it tough and other friends have lost their jobs. But it’s a shame when you’ve had some glowing client feedback and gone through some tough projects this year, to be constantly looking over your shoulder. But with Brexit, a global Pandemic and the shit show in the US this year, it’s no surprise that things are bad the World over. So I’ll take what’s coming on the chin. But I was happy to throw every bit of energy into one particular rush client project, that was an indirect part of this new technology and scientific techniques that helped fight things like Covid. So at least some of my work has helped create positive change to combat this pandemic, even if the project nearly broke me.
Temperament / happiness – I’ve also had ups and lots of downs this year. Some real anger and stress. I’ve done well over all, trying to combat it, but I’ve also had periods of not following through on planned meditations. Partly this was down to work, but also down to real low periods, where the anger takes over. I like to think that over all I’ve been kind to myself and to others. But I know that my drive to achieve, and being on lockdown, has come at the cost of my energy and made me less willing to socialise; less of part of the human race sometimes. And as a result, less able to even enjoy some of the good times, as much as I would have liked to. Sorry to all for that. Maybe I should be less of a hermit next year, once lockdown is lifted.
House – We ended up spending shedloads having the windows and doors all redone, once we were in lockdown. And the only good thing about the pandemic, was having no money to travel and ended up managing to recoup much of the cost, just by saving up and doing sod all. I definitely did not achieve as many of the other projects I planned on the house, as I would like, but I’ve done maybe 50% of the things we set out to do due to putting the film stuff first. But it’s also been a pain being on lockdown this year, with constant construction nearby. We’ve had to put up with a fuckload of blasting and drilling and construction noises, due to the houses they’re building nearby and they’ve also taken some of our views. I’m hoping for a quieter and more productive year of DIY.
[You might want to skip this bit and jump to the end, as it’s long! Seriously, go on, no one will blame you!
But please note, I’ve added links where possible to previous posts, if you’re curious to find out more]
And at the end of January, Darwin and I did a test shoot for COMFORT HIM, which was a lot of fun. And then we went to shoot MAI PIU (aka NEVER AGAIN) in Italy. This was to return the favour to Alessandro Fiorucci for starring in our short LOVELY TO MEET YOU, that we shot in December 2019 – the latter was planned for release this year, but Darwin’s still wrestling with it, but it will be coming soon! Whereas MAI PIU is finished and we hope everyone gets to enjoy it in 2021.
…At this point, there was already a virus looming – despite various Government’s claims to the contrary – I’d been following its emergence in the press…
In February –
MR CLEAN got 2 new posters, Finally finished MR CLEAN the short film (which was a huge deal for me to finish something), and submitting to film festivals and reviewers – and got our first and 2nd review. And we worked on preparing for our cast and crew premiere screening – where I had to learn everything I could about creating my own DCP screener.
The trailer for LOVELY TO MEET YOU was released – the screening was scheduled for April, and then again later in the summer, but ultimately hasn’t happened as yet. But we did get to do the cast and crew screening for MR CLEAN just before the lockdown. It was a great event, and amazing to see our shorts on the big screen and share them with friends and family. But people were already cancelling attendance due to the virus and I ended up feeling ill for a week afterwards… and suddenly I wasn’t unemployed after all, despite that being dangled over me…
Sadly there was no screening in Spain for us, nor a trip to see my family, once the virus hit and travel became impossible. And rather than be unemployed, as I was originally supposed to be, I ended up having my busiest period at work for a good while, as a weird direct result of the pandemic. I had to work some insane hours, for science!
Sadly, we also had to cancel a 50th Birthday trip to Andalucia for Suss, a trip we’d been planning for months. A once in a lifetime trip… bugger. But it was happening all over the World. Why should it be different for us?
So I decided to start working on MR CLEAN the feature script. But it was tough to get going, with all the work I was doing for the day job. I was focussing on writing, as it looked like I probably wouldn’t get much filming done, with the pandemic.
I started running into a few road blocks on MR CLEAN the feature in ACT 2, so I started doing a much deeper dive into Story Structure / plotting tools. But also had to sort out storyboarding our next micro short and rewrite HUSH MONEY TOWER for Darwin. I definitely felt the new planning approach / story tools I’d been working on were helping me understand this story and gave it what it was sorely lacking – but such time invested is also time away from writing / projects.
And we had our first Midsommar celebration in lockdown. It was lovely to spend it with a few friends, even if under such weird conditions and limitations. But let’s hope the usual pagan sacrifices can continue next year in public. 😉
In July –
COMFORT HIM was released both online, and to film festivals – something that to my knowledge is rare if not completely unusual, but was intentional so that people could get to see some of our films and not have to wait for so long. And I avidly watched the stats to see if this film, as a Micro Short experiment, would find an audience and would it get rejected from festivals that prefer the premiere for short films, or would my gamble to release it first, so people could actually see it, pay off? Although it began to slowly amass views, it was tough to get anyone to actually review it. I mean, even the team thought it was a trailer because it was so short. And once released the inevitable “when can i see it?” requests followed people viewing what they thought was a trailer lol!
We also shot NO TELL – a film I co-wrote / polished with Darwin. A short that was a bit of a surprise for me, as originally I was too busy to help produce it and then kind of cut out of it altogether, and then suddenly back in on the production to try and pull it off at the last minute. And we tried to observe Covid conditions, but it was tough to do. But it was a great chance to meet new talent / collaborators and work with some old friends and I can’t wait to see it in 2021.
I also started work on project called HEAR SOME EVIL, which was supposed to be a first collaboration with a new friend and fellow Swedish creative; and a chance for me to try out some new techniques re plotting and planning. Ultimately it ended up being a solo project and getting shelved on completion due to lack of interest / collaboration / bad timing. And Darwin shot DESEO EQUIVOCADO (aka ROAD OF LUST), a project I helped rewrite for him, without me – as I had zero money for travel due to a major house refurbishment, and was sadly back at work and working my butt off. At least my gear could help get it made.
MR CLEAN got more festival rejections and festival cancellations and delays, and I then gave up on trying to get the feature script finished. And I got sick, but don’t know what it was, whether it was the virus or not or just being run down. It was all just a bit poop – despite being on vacation. I was at a very low point over all. I had already pushed myself so hard…
And the month ended with a screening of COMFORT HIM in NYC, and me being depressed about another cancelled family trip, too much stress and zero feature script to show for it yet.
In September –
We fared a little better – although I was still depressed, due to the continuing lock down and returning to work. But what helped me get through it was the selection of MR CLEAN to the H.P.Lovecraft Film Festival – a project I had always consciously intended it for, before I even wrote it. And sadly, although it had long been a dream to attend that fest, I could only attend online. But it was good. I saw some amazing films and it was an honour just to participate, although sadly after the fact, as the films were on at times that weren’t good for my work schedule. And it wasn’t the only fest selection. SVEN GUNNAR also did well, being selected for Cyprus.
And we shot TUMBLE DYING too, and in order to get it done, I made a tower of socks and gathered lots of sock donations to do so. And we tried and failed again to observe proper Covid measures when shooting. But it was a surreal and short shoot.
MR CLEAN had a few more festival selections – some good, some not so good; some where they took place with no announcement of location / dates, and no ability for us to travel anyway, and others where they were online and it was impossible to take part, due to the weird limitations those festivals imposed (like US fests with a once-only live stream at ridiculous times, so we couldn’t catch up and see the films, without missing sleep and work for a week).
I also embarked on a then secret project. I was rewriting a comedy horror feature script – MAGIC IS MURDER – as part of another collaboration. I tried to get it done before my Birthday and was pleasantly surprised that I was able to crack it in time, to hit one key goal of the year, even if it wasn’t my own MR CLEAN the feature. It was still impressive, to get it done on top of the day job and everything else. And the collaboration was fun and I think the project has benefitted from it, based on the feedback from those who’ve read it. And I can’t wait to film such a crazy script with the cast and crew next year!
In November –
MR CLEAN got its 18th festival selection, and then I was finally able to talk about other feature projects, including MAGIC IS MURDER. After a conversation with Darwin, discussing frustrations in launching some more ambitious projects, Darwin and I discussed two potential low budget guerrilla projects, and I had fun breaking the story on one of them, called MURDER TOURS. And I pushed myself to rethink an old legacy project called LAST NITE IN SODOM for future pitches, and had some meetings around developing SVEN GUNNAR as a feature – especially when it won an award, in recognition of it being a proof-of-concept for a future feature in Cyprus, and to see it on the live stream.
GAS! got into another fest. And I made some progress cutting TUMBLE DYING, as the editing had gotten pushed back again. I managed to reduce 2hrs of raw footage down to 25 mins of good footage, in the edit.
And the world said “screw you Trump!” and we all hoped he’d just fuck-the-fuck-off and the World could relax for five minutes, after such a stressful election. Yet the MAGA’s somehow ended up believing in more conspiracies and Trump lies and live in denial that any of this happened. LOL. But I had been very active with some US filmmakers in trying to help do our bit.
And the month ended as I got interviewed by Darwin’s festival, for GAS! And after another chat with Darwin, where he was having trouble working on a new potential short, I came up with a very different take on it, inspired by a mental image of carnage and almost seeing the entire story in my mind right there and then; I just invented the characters and knocked it out in a day, and BLOOD MIST was born. This was a nice fusion of pantsing and plotting, that I think really paid off. And I’m excited to see that get filmed in 2021.
In December –
Work was getting rather frenetic, and yet there was some good news. COMFORT HIM was a selection and finalist at another fest and GAS! got was a semi-Finalist in another fest. There was talk of some actual funding for one feature project… And as a massive package of work was delivered for the day job. As a result, seeing some time off in my future, I felt that I might finally be able to tackle TUMBLE DYING, finishing the edit, and finish breaking the story of SVEN GUNNAR the feature. But time was ticking and my energy was at an all time low. And depression set in.
All of that graft this year had come at a price. I was getting burnt out. I was spending every free minute working on SVEN GUNNAR the feature, and TUMBLE DYING. but it was hard to get through it. Some rest for Xmas was definitely needed and taken. I was now down to 14 mins of half of a rough cut, and it was slowly coming together (not bad down from 2hrs).
And then MR CLEAN appeared online in the STUff MF film festival – for it’s Mexican premiere, to close out the year.
[if you read all of that, you’re awesome! Go You! Phew! You nutter!]
So what about 2021?
As I’ve already been too long about it so far, I’ll try to keep it brief. My goals / wants are as follows:
Enjoy the release / festival run / screenings of LOVELY TO MEET YOU, MAI PIU, DESEO EQUIVOCADO, BLOOD MIST.
Finish TUMBLE DYING and get it out there and plan the next one.
Write SVEN GUNNAR the feature and help get the production off the ground for the following year.
Write MURDER TOURS and get that on the way, to help me pave the way for MR CLEAN the feature.
I have a silly mission to work on a feature film before I am 50, so I am really hoping that either MAGIC IS MURDER (to be shot in the UK) or MURDER TOURS (for either a Spanish or Swedish production) will happen next year, if not both.
Rather than spread myself so thin on courses etc, I am going to focus on one mega course for 2021, where I will resurrect and finish off one of my novels.
But I also really hope to do some more experimental video projects and focus more on cinematography / filmmaking.
But most of all, I really want to travel and see places and people again.
I want to be kinder to myself and more present / a better partner to Suss etc. But I’m also aware, that I’ve already crafted a huge wish list above that I need to own…
I also want everything to settle down after the US election, Brexit and let’s just get Covid off our backs for a bit…
The year hasn’t been a complete shit show. I’ve achieved a lot, and had fun with collaborating and trying new things, although there are also associated stresses and strains that result from it, especially risk of getting burnt out. But I think a bit more balance might have been beneficial, to have more of a life and not just throw everything into work and try and kill yourself. I think Suss is a saint for putting up with me being so absent / stubborn.
I’m glad that Darwin and I cleared the air around some issues we had and have collaborated much better afterwards. And also that we’ve both been able to work with others on so many projects. It’s amazing and I’ve been very lucky to continue to work with the same talented team for multiple projects. It’s been great to see them all grow and tackle other bigger projects too, including some Netflix gigs for our actors and awards for the creatives. I really appreciate Hasse‘s patience, waiting for me to get TUMBLE DYING done, Simon‘s trust in me reworking his script, and hope to be able to find other successful collaborations. You do need to change things up from time to time, to grow and challenge yourself. But you also need to own it when stuff goes south and try to fix it if you can. Fingers crossed that can happen.
I think sticking to my goals will be key to achieve my end of these more ambitious projects we have planned. You have to leave room for other opportunities, but know when to say no and stick to what’s important to you.
I really appreciate all of the creative friendships I’ve forged in 2020, and all of those people who’ve stuck around to help or even just to follow the journey. And to those who’ve supported me through it, thank you!
Lastly, I really hope that we can step up to secure some proper funding so that we can pull off these future cinematic dreams and reward our team with some actual payment. So far, all of this has been achieved from sheer grit, determination, pure passion and unpaid and often very hard work. But let’s hope everyone can benefit from the fruits of 2021.
[Jeez! I’m finished! Honest! After all that, I guess that I’d better get busy…]
We have two great news items to share with you all, that we’re super happy about!
Firstly, paperwork has been signed, and MR CLEAN is going to be included in a Troma compilation – GRINDSPLOITATION 9 (Grindsploitation 9: Revenge of the Schlock). Release date TBC.
The creators of 60 Seconds to Die film series, Tony Newton (Vestra Pictures) have decided to create a new anthology horror film full of 60 second scares!
Secondly, Inspired by MR CLEAN getting onto that release, I noticed another release and wondered…. could I cut COMFORT HIM down to that original target for it to be a 60 second film? Would it still work that way? and would it get onto the intended compilation release…..
Well, in answer to that…
“Countdown the horror! – a compilation of 60 SECOND HORRORS is coming!” – yes a new 60 second cut of COMFORT HIM is now also going to be included in the upcoming SIXTY SECONDS TO LIVE!
It was fun to try and cut the film down. Essentially, the main elements removed, were some of the comedy aspects, so the film plays a bit more straight horror than comedy. But it works. 🙂
It’s been an eventful week. And some of it I can’t even talk about yet. But, of the stuff I can talk about, let’s begin with MR CLEAN.
MR CLEAN has just won an award for Best Short Film at the August Breakout Film Fest. And we’re super stoked about that. I obviously talk about the selections and the wins, but never mention the rejections. Every time we get selected or even win an award, it’s so heartwarming. And confirmation that every ounce of effort, blood, sweat and tears, was appreciated by others.
This weekend we (Hasse and I) finished shooting TUMBLE DYING, a micro short comedy horror film about “what becomes of the lost and departed socks?” I’m exhausted now, but it was worth it. I think… I’ll know for sure when I’ve reviewed the footage and gotten into the edit and I’ve recovered from the exhaustion… but it was good to get the same award-winning team from COMFORT HIM back together, to try to make another micro comedy horror short and share more filmmaking adventures.
I wrote the original script for TUMBLE DYING, but Hasse wasn’t into it. However, after some discussion, he came up with a suggestion for a better / richer ending for the movie, and something that we could both get behind, that also homaged a shared favourite film of ours – so it was nice for him to get more involved on this one and for him to take over some more production duties and especially track down some essential props. And this was the second time that I got to work with Darwin behind the camera on one of my films, assisting me with the camera work, having originally helped me shoot COMFORT HIM; and he was a much more significant contributor this time – and actually helped push me through the entire shoot to get it done. Thanks to both of you for that!
Although it was only a 2 page script, it was a miracle that we managed to get it done in two days (except for one minor pickup shot that is needed); despite the weather, ridiculously difficult green screen shoot and sickness, we did it!
Note: as with my other shoot diaries – these are written as a stream of consciousness, recounting of what happened in the production phase, mostly the entries were written the day after each shoot day – due to such long production hours, while it was fresh in my mind, and they are not meant to be overly critical, just to be constructive documentation about what happened, of where certain aspects could be taken as lessons learned to enhance the quality of future productions. But mainly to document what happened, for when the memories begin to fade….
Friday – The day before – 28th August
I was woken, after a restless night, with a bizarre S&M thriller type dream, of a woman being terrorised by her Sadist boyfriend Frank and a young guy who wanted to rescue her, who was becoming tainted and enjoying the sadism like Frank, while the woman enjoyed it, but was ultimately going to abandon them both… like some twisted version of BLUE VELVET, but done Cockney style.
Obviously, I wasn’t well to have a weird dream like that. I had a bad stomach and woke up and immediately dashed across the house to worship the porcelain God. Great. Like I needed that today…
I had a busy day of work, long meetings that required lots of prep and diplomacy, some urgent scripting to do and a Tower of socks prop to finish for the film, food to cook for the shoot, all of the gear to prep and pack / arrange for filming and somehow to stop my body purging itself to see if I could even do the shoot tomorrow.
Luckily, the meetings went ok, and I even got some scripting done, despite the frequent dashes to the bathroom. I also had a call with Darwin to discuss gear to bring for TUMBLE DYING and if we needed a car etc. I had a call with the cast to check they were still coming, with Hasse to discuss logistics, discuss wardrobe etc and last minute additions to the crew to help with the sound, makeup (due to people letting us down and some unfortunate Covid-sounding illnesses) and more. And all the while, talking on the headset, I changed and charged batteries, I glued and stuck more socks on the Tower, and eventually completed it all.
Thanks to Suss buying me some pills from the pharmacy, I finally gained some control over my bodily functions. And I could try and rehydrate.
As a result, of a minor improvement, I cooked dinner for Suss and I, then cooked lunch for everyone for the day 1 shoot at mine, a huge curry and rice, and prepared breakfast etc. It was a huge undertaking, but I got it done. And all while wearing gloves, and making sure that all food hygiene rules were observed.
I then arranged laundry for props, remembering that we would lose time on the shoot if we had to wait for the laundry to actually complete a cycle, between sequences. And then I could finally look over the sequences and prepare for the mental side of the shoot… sort of. It was 9.15 pm when I finished, and then cast a look back over my notes and storyboards etc one more time. But my head wasn’t feeling it. I wasn’t in the zone.
The toll, today’s illness had taken on me, was that I was at this point kind of a hollow and washed-out version of myself. And I wondered if I could rehydrate, and sleep enough to feel better over night and get through the shoot. Would it affect things?…
We had an early night. I tried meditating in bed to finish. But my brain was buzzing.
Saturday – Shoot Day #1 – Saturday 29th August
I got up sluggishly at 6.30 am, feeling like crap. Having been awake since 4.30am I think – thanks to the cat and my brain suddenly snapping wipe awake…. eventually getting up to shower. But I wasn’t feeling any better than the night before. Could I get through the day???? Should I cancel? I felt like death.
There was furniture to move, both for shooting and for people to sit on, breakfast for others to arrange, messages to answer (about where I lived, despite prior proactive messaging about it over the last two days and it being on the damn shoot schedule ffs! Always. Every film. Someone always doesn’t check), and a joke message from Darwin trying to fuck with me and tell me that he wasn’t coming, when he was outside the house already [he is a prankster], and then one by one Darwin and the others arrived; and I was trying to be a host, handle the catering / look after everyone and be the director / producer. Tricky. Too many hats. Not enough energy or limbs.
Soon when we were all there, we took the stuff down to the laundry (aka Tvättstuga in Swedish) feeling high in spirits.
The laundry was cramped, but also it had people in it other than us at first. First one of the community residents, as we waited for him to choose a laundry day which seemed to take him forever – probably because he was confused why 8 strangers lugging cameras and lights were waiting for him – and later when another woman came in and seemed sure that we shouldn’t be there! She thought it was her time to do laundry, but she had the wrong date! That could have been disastrous, if I’d cocked up the booking and we couldn’t film at all! While I was thinking I’d booked the wrong day and we’d have to abandon the shoot and vacate the location, she apologised and left. Phew!
We started outside, shooting the establishing exterior and it was sunny and pleasant. And as soon as we moved inside to do the main shoot, the heavens opened. We had heard rumours about potential rain, but after 2 weeks of zero rain, it seemed unlikely. But also the forecast was wrong. It didn’t just have a high probability of some rain, it was raining cats and dogs all day and night!
It was small in there, in my tiny laundry, so we couldn’t get all of the shots, at least not how I had imagined. And not without complex rigs to mount the camera on and plenty of time to burn to do that rigging etc. But we improvised, Mina sat on the Tumble Dryer at one point to hold the camera, and later got in the damn thing, to hold the legs, when the clamps wouldn’t! Her own suggestion I think. I certainly didn’t make her. She’s a trooper! And so talented as a filmmaker in in her own right.
I think despite us running over by two hours, we got almost every thing, save for one button push (which Hasse and I will get as a pickup shot). However, one slight issue – due to the rain being so persistent, I hoped it wouldn’t ruin the edit, to go from a sunny day, to interiors when the Gods are angry outside? And I hope it wouldn’t ruin the sound. But also, would it be like this tomorrow when the entire shoot was exteriors????
It was a day of compromises. I’d started the day with gloves on, mask etc, and the gloves kept splitting and tearing on the gear / switches etc of tripods and cameras and battery compartments etc. And the mask kept coming off. FFS. So much for corona protection. We really had tried. I bought all these masks etc. But instead, eventually we all opted for using hand spirit a lot and had to ignore the other elements. My hands ached from so much applied alcohol after that shoot…
Lunch seemed to go well and everyone seemed to like the food.
Emma had shown up around lunch, as arranged and sadly had more hanging around to do than I would have liked, and we made it a bit tough for her unfortunately by shooting her pieces largely unscripted and in reverse. Mainly because of the way we finished with Hasse’s setups, to save moving cameras and lights etc. This actually meant that she had to do everything in reverse, going from shock, to confusion and then to mild surprise… which must have been challenging. But she did really well. And even though we asked a lot of Hasse, and there was a lot of feeling our way through how to pull-off some of these shots technically due to the shots not matching our plans, he was great, patient, calm and in good humour and professional throughout. He even entertained the troops in between takes and then was ever attentive to being available when needed. What a great cast!
The fake legs worked well I think. And we were surprised, how despite not having any leaf blower and the fan I’d brought not being powerful enough to ruffle hair and clothes, like I wanted, that we actually got the fishing wire to work – although we did lose a bit of time in doing so – it looked great on camera.
Earlier in the day I had a delivery of a light that I urgently needed for the evening’s shoot. Mina’s friend Philip – who did sound recording for us during the shoot – went and picked it up for me. He also proved so very valuable to the shoot, as with Mina. We were very lucky to have them.
After everyone helped us get the stuff back to the house, it was time for most people to start to leave. Sami, Darwin and I stayed to try and get the screen sequences done. This meant unpacking the light that Philip had picked up for me, as we needed more light, whilst I backed up the day’s footage we had shot on each device, and then did numerous tests that we could check the keying, thanks to Darwin’s quick skills with After Effects. Then Hasse arrived – he had to leave, to go home and then pick up a car to return to pick up some stuff for tomorrow, and had been delayed by traffic disruptions caused by Climate change protestors versus Raggar Bilar US car fans; both blocking streets in the centre of the city and snarling traffic to a halt.
We had a problem though. No extra green screen, as I’d hoped we’d have – as the person lending it to us had gone away on holiday. Damn. So because Hasse is so tall and human arms are so long etc, we had a real problem trying to get the shots we wanted – to keep him in the shot, for masking around him – and we still had issues with getting a clean mask, as we still needed a little more light to kill any shadows; but as I’d been let down by a delivery during the week, we had one less light than we needed. Damn.
I was a bit spent, over tired, completely washed out and grumpy as hell at this point. We tried, but everyone was a bit deflated by it. Not for want of trying. And not for want of Hasse diving enthusiastically onto the ground doing his own stunts and screaming loudly and so amusingly, that it’s a miracle that the neighbours (who must have really wondered what was going on) never came to check on us or called the cops. lol. Now that would have been a story. As Hasse is an ex copper.
Eventually a call had to be made. I decided to sack it in for the day. Hasse had to go, Sami followed, taking the Tower of socks, spare socks, makeup, blood etc with them. Darwin and I then took the gear / lights down packed the gear and arranged it ready for the next day’s shoot before he left. And then I did the last prep for day #2.
Then at 9.30pm, I tried to wind down, to enjoy a drink, watch some comedy to distract myself etc.
I was in bed by 10.30pm again. I had no energy to even shower, and crashed into the mattress. However, I was over tired. It took a long time to shut my buzzing brain down and get some sleep. That and a resorb and quite a bit of water to rehydrate first. Maybe I’d be better tomorrow?….
Sunday – Shoot Day #2 – 30th August
I woke up / was woken by the cat wanting to go out and then at that point, after letting him out, I was unable to get back to sleep at 5am. I got up at 6am, once I was alert enough to realise I was one day into a shoot and had another day before me… or did I? Would rain stop play?
I showered, dressed creakily, and ate some of those leftover breakfast items from the day before, before messaging Hasse. I’d seen a break in the rain clouds and blue sky and it looked promising. Would we film / chance it? He agreed that the sky near his place, near the location, had also cleared. Let’s try to do this! Get ‘er done! … but sleep was much more what I wanted…
I rechecked my storyboards and notes, and by my estimation, I think we were only missing one shot for TUMBLE DYING – of the Tumble Dryer being turned on. Bums. But we could get that another time /later. More crucial shots awaited.
Darwin was coming to pick me and the gear up. He arrived on time. However, he again sent me another prank message, but I was already ready for it before I opened the door – both laughing as he read my reply to his text.
By 7.40 we were on the road, car packed and headed off to Hasse’s. We got there just before 8.30am, unloaded the gear and took it up to the apartment where Hasse was waiting for us. There while the others had breakfast, I rigged the camera and set up sound etc and had a look at what gear we would take with us / use. With it being an outdoor shoot, it was unlikely we’d need lights – especially if the weather held out. But we had them just in case.
We didn’t get out of there to the location as fast as I would like. Basically we didn’t get out of there until 10.30. Then Darwin, Philip and I scouted the location, Stora Skuggan, in Norra Djurgården. The fields near the car park weren’t working for me – not where we needed it to look like a deserted and lonely open field. As far as I could see, I saw lamp posts and cyclists, dog walkers and sunbathers and walkers. Damn. However, thanks to Darwin’s encouragement, we walked further and found an old open air amphitheatre on the other side of a small hill. This was perfect, because we could control the eyeline for the shot, without having to worry about runners, walkers and dogs, as long as we didn’t go too wide / pan and capture the lamp posts and paths. But we would have to contend with sheep shit, which was everywhere. And I mean everywhere.
Once Hasse (with fresh head wound applied – thanks to Mina) and co arrived, and as Dana and Emma joined us to be Shemps (aka bodies), we could finish unpacking the props and dress the set. We had distributed most of the socks before Hasse arrived, so the set was ready to receive the skeleton, limbs, skulls and the tower of socks and a crash mat. That done, we could then get onto the fall and the final scene. Suddenly, everything was getting too bright to see anything, or to think…
However, sadly, the ladder / fall scene wasn’t quite as dramatic as I’d hoped / high enough. Hasse did brilliantly with it. We were insane for even trying to pull it off in the first place, without a stunt double or dummy. But a higher ladder and bigger crash mat would have been better…. and we didn’t get to do the blood splat, with the pressure sprayer, as everyone felt that we were running of time / being behind schedule, so that would have to be CG again. More importantly, Hasse had a flight to catch – despite me telling him not to book anything after either day of the shoot! And everyone else needed to be places. Sod it… and then we had to content with double the amount of takes, with the sun now out – due to sun or clouds alternately screwing with continuity; which wasn’t helped when I then realised a sock was in the wrong part of the shot. We needed it later, to shoot Hasse hitting the ground and for the sock to land on him, to join it up with the fall. Now it needed to be reshot…. And have you every thrown a sock? They do not go to plan, and it took probably ten goes before I cast one and it seemed to land in a good location on the 2nd attempt…. and for all of this, we couldn’t really see what we were filming at all! We couldn’t see if it was in focus, due to the now punishing sunlight which made it impossible to see the brightest of camera screens / monitors, even when wearing a reflector on your head (as I do).
However, we did get everything done by around 2pm and then hastily packed away and cleared up the scene of the crime; we covered up the blood patches with sand, scooped up the socks and bones and bodies, and left it as we found it; we made sure all the props were collected for being returned, before sadly crushing the tower of socks – after 5 days of work it really did come apart in seconds, once a heavy boot was applied to it. It was sad, but we needed to get it so that it would fit in Hasse’s vehicle, with the crash mat and props etc, with real and fake bodies to be taken back to Hasse’s.
Back at Hasse’s, we ate a lovely veggie lasagne, thanks to Hasse’s culinary skills, had a nice meal together and de-rigged the cameras and better packed the gear for transport home, parted ways and got on the road. Not quite the wrap we wanted, but the best under the covid circumstances, and with everyone’s prior arrangements. I just wished I’d managed to enjoy the shoot more and goof around with the others more. But we were up against it for sure.
Thanks to Darwin, we got back to mine around 4pm. I backed up his hard drive and then said goodbye, before trying to get everything back into my office, unpack and then back-up everything; then once showered, rehydrated, I tried to fix my now zombified brain, which had crashed despite it only being a two-day shoot.
I was sore and achey. But despite the stresses and trials, I was truly grateful for the combined donations of all of the socks, for the enthusiastic time and help of the team, for the support and the love that the project has gotten. I really appreciated everyone’s contribution, collaborative efforts. And the only critique I had about myself, was that I must learn not to be so testy when I am over tired and stressed. Because I do have a problem with lack of good humour when I get that bad.
The key was to rest up… or postpone?
Lessons learned / Conclusions
Either don’t shoot if ill, or arrange a backup plan / don’t try to do everything yourself and learn to rely on others
Rest up before the shoot. Fitting everything in, like building that tower and working on it every night after work, was not ideal. Sadly due to shoddy delivery standards in Sweden, there was no alternative. Things really do take too long for items to be delivered than back home – where the dream of next day delivery is a reality.
Conduct a proper recce / location planning / on site, complete with diagrams etc.
Ensure you have all of the right gear for a location shoot e.g. a tent over the camera and operator, so you can stay out of the sun and get the shots…. or adopt an eye piece / eye loupe style viewing system.
Do a full test shoot. We only did a green screen test shoot, but maybe I should have done a proof-of-concept first.
Check over every prop and accessory – not being able to gauge the size of the crash mat or the height of the ladder from the videos / pics that I’d seen, meant it was impossible to do anything but improvise during the shoot.
Hire a green screen studio or create a proper one, where full body stunts can be done.
Having said all that, I think that we did pretty good considering. I know we got some good-looking shots. I just haven’t looked to see if we got all of the right shots. But it was a fun adventure, despite the issues. Thanks again to the team for carrying my tired ass and putting up with my short temper. And thanks to you all for reading.
I am as interested as your are, to see whether we can pull off something as good, if not better than COMFORT HIM, with what we shot.
This weekend we (Darwin Reina and I) finished shooting our 6th film together – NO TELL, a gangster film about “what price can buy loyalty?” (In order – we have shot MR CLEAN, SVEN GUNNAR, LOVELY TO MEET YOU, MAI PIU, COMFORT HIM, NO TELL) and got to realise / ‘get it in the can’, our 4th script collaboration together (we’ve co-written DON’T FORGET TO BREATHE, SVEN GUNNAR, LOVELY TO MEET YOU, NO TELL and HUSH MONEY TOWER). I’m exhausted now, but it was worth it. And I think this was our best collaboration yet, to some extent. And to think I almost didn’t get to work on it…
(originally I cowrote the script with Darwin. A good while after, it was announced for production in Sweden in July, and I was going to be losing my job, Covid hit and then all bets seemed to be off about being able to help produce it with him, due to financial issues and lack of time – and as I was busy with my own productions, he already had a crew for that and another writer had come aboard to tweak the script for him. Later, there was talk of a production meeting or read-throughs, and how to do it with social distancing, but nothing ever came of it for me until, I’d later find out that meetings already happened without me despite no contact about them. I was ok with this. But I basically did not come aboard the production until the Sunday before the shoot (4 days prior), once Darwin and I actually had a video chat. And I never saw the script version we actually shot, not until during the shoot when there was no time to read it and I only saw the shot list for day 1. I was still working from my last script version – hopefully that goes to show how last minute / slightly unprepared it all appeared to me, only because I wasn’t updated to the level of everyone else.) – despite that, we did it. We pulled it off! Everyone involved gave it their all.
This was the second time that I got to work with Toro (LOVELY TO MEET YOU and NO TELL) an amazing stunt performer, gymnast and talented actor from Spain), third time working with Hasse Brontén (SVEN GUNNAR, COMFORT HIM and NO TELL) and Isabella (makeup) the first time working with the remaining cast and crew – Dana, Didrik, Mina, Petrus, Reza, Ricky and Sydney. And I’d happily return the favour and work with any of them again.
Although it was a 11 page script, we managed to get it done in three days (except for one pickup shot that is needed, due to a last minute casting change); despite the heat, Covid, disappearing or breaking equipment and last minute cast and crew changes we did it!
From the first day of rehearsals to the last day of production, every reading helped get each cast member to a much better final delivery and then every read-through and blocking rehearsal then gave us more room to add small details in, to enhance each scene. So the end of the production showed a massive improvement from the rough beginning.
And lastly, it’s great to think that when I first met Toro, two years ago for the premiere of DON’T FORGET TO BREATHE, and Darwin and I first discussed potential casting for this film with him (when the film was potentially going to be produced in Barcelona), that we finally got to do it with him. It took longer than expected, but we got there. 🙂
As with my other shoot diaries – these are written as a stream of consciousness recounting of what happened in the production phase, mostly the entries were written on the way back from set, while it was fresh in my mind, and they are not meant to be overly critical, just to be constructive documentation about what happened, of where certain aspects could be taken as lessons learned to enhance the quality of future productions. But mainly to document what happened, for when the memories begin to fade….
Wednesday of rehearsals – 15th July
After a morning of doing DIY, I headed off to rehearsals. I got lost and went 10 mins in the wrong location, thanks to Google maps missing one digit off the number when I had copied the address into the app. So technically, despite aiming to get there early I arrived second to last, like a bumbling, confused and slightly rain-soaked muppet.
I met Mina (Clapper board, Script Supervisor and helping with Continuity), who I’d not worked with before, but knew her work as a filmmaker. And then Dana (playing Shorty and Co-Producing) came down to take us up to meet Reza (Sound Recording), Didrik (Playing Jimmy), Petrus (Playing ‘removal man’) – and this was the first sight of the cast members having fun with the fake guns, which caught me by surprise as they pointed them at each other and had fun with the blowback – something I’ve never seen on a set before due to respect for gun training, even when purely using prop guns. Then Hasse (playing Pancho) and Darwin (Producer, Director, Writer and 2nd camera) arrived, for us to go up to the roof to do the rehearsal.
I shouldn’t have really needed to be there for all of it – it was good just to meet everyone – as the writers don’t usually get to be there and usually we feel like we get in the way. But it was clear that some of the cast could do with some input into how certain lines were supposed to be interpreted / pronounced and I was happy I could help.
One actor really needed help at first, was mispronouncing some words and didn’t know them by heart yet (even when reading off the page), and another also needed to understand what he was saying in both English and Spanish (he’d not encountered some of the slang before and some lines in another language), despite a few read throughs before, but I hoped we’d get through it ok. I think that where such issues exist, writers can be useful in these instances, to help guide or advise on cuts and last-minute rewrites to fix problematic passages. But I was really impressed with those actors that were new to me, and the more prepared members of the cast, who had done the work on their lines and delivered them pretty much on point.
But I couldn’t help as much, for all of the new scenes I encountered in the read-through, as the script had been changed since Darwin has last locked it. And no one had circulate it to me, so I didn’t have the right pages.
After that, around 1.30pm, we went to lunch and then we parted ways, and Darwin took Toro and I to his place, to say hi to his family and rearrange the place for the future day’s shooting. After that, after moving furniture, and trying to create a set we could use, we went back to my place, to sit in the garden and talk through the plan for some scenes, before grabbing some food.
After the food they headed home. It was 9pm. And what I thought would be a few hours, had taken up all day. F*ck. Not a problem, but there had been no clear expectation that beyond the rehearsals I’d lose some of that time. However, the production needed that discussion I think, to help shape Darwin’s thoughts and try and prepare for any potential problem areas.
However, I was gutted that I hadn’t managed to keep appropriate social distance. I do think a mask and gloves might be needed. People are really desperate to hug and get in your face on film sets. I tried to bump elbows and keep away… but other people…. I feel silly about it, but I am in the risk category due to my lungs… but yet also, how is that going to work if it’s hot and close conditions on set?
I was mentally exhausted. Tried to rehydrate, but despite drinking as much as possible all day, I had a pounding headache. So despite it being 10pm I was already getting ready for bed. I tried to sleep and shake off this head pain. But eventually could only shift it once I took a Resorb.
Thursday Day#1 of NO TELL shoot – Thursday 16th July
I managed to sleep last night. Nice. The resorb helped me sleep and yet, despite drinking some more water I was somewhat dehydrated in the night. However, some sleep was possible. Awesome. This is an improvement on my sleep before past shoots. Huzzah!
I had already arranged everything / all the gear by the front door ready to go. This was before I tried to assemble an instagram account name list for posts on social media for NO TELL. It felt good to achieve a few things before the day’s chaos. Collating lists of social media accounts involved is always helpful to ease sharing once production is up and running.
Note to self: wear a mask, Stay safe and drink a lot of water! Also, would we get the shots we need? would I hold my tongue / keep my head?
Darwin and Toro arrived at mine at 10am I think and instead of us all heading off right away, they stayed for a drink, and we sat in the garden, discussing the plan for the shoot. Then we were off to Hammarby, to Panne Fresco. First, Darwin wanted food, as we got there early, so we went to have Enchilada’s across the street, then Dana told us off when he arrived, as we should have been eating in PF. Oops. Oh well. No one said anything beforehand.
It was a good sunny day, but as we would need air con off, and doors shut etc, it meant for a warm foetid day of indoor shooting mainly (and this was just like every day of the shoot as the weather got warmer again). So we scouted, checked out where to set up makeup, where to aim cameras, and began the tasks of moving all the gear in – which Toro and I did almost single-handedly, once everyone got distracted. They all came out to help as we neared the doors, but by then we were both sweaty and had done the bulk of it, getting from the car to the door. Not a great way to meet everyone and get started, as sweat pours from you and you’re already up against the clock, and being asked to help in multiple directions at once. But it all goes better eventually.
I rigged the camera, tripod, and also helped Mina with the lights and Reza learn the Zoom unit and set up the mic etc and tried to help guide Mina re unpacking the lightstands, filling out the shot list form etc. And then Darwin and I needed to plan the shot and light the scene. We probably didn’t get the first shot in the can until after 2.30pm. I was getting a bit nervous by this point, that we would be going until midnight at this rate. But things picked up, as they always do, once you warm up. And people soon began to pull together as a unit.
This day’s shooting began with shooting Jimmy and Pancho, and the bodyguards, with the briefcase, the all important set up scene; shooting normals and reverses of their dialogue. I really liked how they both played the scene and also especially how Hasse hit the same marks each time and both were happy to cheat things when we needed to do so from another angle. And to anyone else on set, who had no specific role at that moment, they were brilliant helping hold these huge sun umbrellas to block out sunlight and essentially being human flags! Thank you so much for that – because we’d been promised a really dark area with no light, and had the exact opposite. This is where the importance of location recce’s being done right comes in. No recce had been done by knowledgeable crews. But we got through it anyway.
Then it was time to do the dream sequences, Dana’s fun coke sniffing scene in slow mo, flanked by Ricky and Sidney, the bodyguards – having fun with their smaller roles, and Isabella in the background. And then Toro’s kissing scene, with a hastily rigged curtain backdrop, the others as walk-ons in the background, with Mina and Isabella, out two beautiful ladies on set, suddenly glamming up and stepping in as extras to nail the scene and make it seem like a bigger production than it was. Mina was great on camera, very photogenic and nailed the last take of firing the cards. Dana managed to get a great shot in slow motion, as he faked the coke kicking in, from the line he snorted. Darwin and I also dropped cards nearer to the camera and also got the timing better on this last take, to tie up better with the ones Mina was firing-off.
We had some lovely slices of pizza, thanks to the very kind restaurant Panne Fresco. And Sylvia was very helpful and understanding, when we needed some quiet from the kitchen areas nearest where we were shooting, as they do like to shout and pound / tenderise their steaks etc.
From there, after some pictures with Sylvia – to thank the owner / manager of the restaurant – we went out to film the mafia crew, walking along the sea front, in slow motion, to the amusement of those enjoying and evening drink / meal out by the water. And then we all had a little ice cream, also free and very much appreciated from Panne Fresco – a much needed little sugar pick-me-up – and a chat with some of the guys, and bond, before we then went to Tyresö, for the woods murder scene.
We had to decide between two locations. They asked about Rågsved or Tyresö. I knew my area, Rågsved, but said as far as I knew they were mainly actual roads and not paths, but it was nearer. In hindsight I think we should have gone there. Especially as it has a real murder history, instead, we went to Tyresö. I had asked multiple times, previously, ”you know where you’re shooting and you’ve done a recce right?” and had been assured that they knew the area well. It was only when we got there that Darwin was complaining that it was taking too long, and so I suspected that they hadn’t been there, and then when I saw the path that we were to use, I knew no proper recce had been done. It was impossible to drive far enough into it. It was at the edge of a small turning car park on a residential street. It seriously limited our options and light was fading. We’d left it too late. We either should’ve hustled sooner… or I think planned some pickups / do a reshoot??? But we cracked on and tried to fake it as best as we could… However, I think the all important drone pickup shot, that we didn’t get to do on the day will help save that shot and enrich the film…
We hastily grabbed what we could from the car and filmed the car driving down the track, as the bad guys disembarked from the car. Then shooting them as they were checking out their hostage, from the back of the car, for the murder scene, with Ricky wearing a nice head wound and being trussed up in the boot. Ricky did a great job, considering he hadn’t known about it until an hour earlier. The scene was tense, because of lack of time, cramped shooting conditions, as I tried to lie on my side in the back and work the camera, and then the little tripod broke – completely f*cked-broke and lay in pieces. As soon as I took it out of the bag, which it had been in since SVEN GUNNAR, first one of the legs fell off! Some plastic came out of it, and then the tripod head was not fixed and wouldn’t come back off and was almost impossible to hold steady. Given more time I would have swapped to a sand bag! WTF! But it was my fault for trusting it was good and not testing it prior to the shoot.
We also ran out of gas for the blowback gun at this point. Which is a shame as it was key to the finale of the day. But all that previous playing with the guns came at a price. NOTE: always pre-buy more gas cannisters than you need, for such effects.
Petrus was really helpful, holding lights for the shoot, and I rigged some up from the boot too, to uplight the guys, and tried to ignore the mosquitos and the pain of the weird angle I had to lie in to take the shots and work the camera.
Sadly, we didn’t get all of the coverage I felt we needed, not like the exhaust shot etc. But soon by 9.30pm we were done and the light was long gone.
Darwin and I packed up the car again, and he and I walked the location, I found some cable ties that needed to go in the bin, but we’d not lost any gear / left anything key behind… at least, as far as I knew….
Hasse then drove me back and we had a good chat about the day’s shooting, as the others all headed back to their respective homes. He was happy with how things were going, which was great.
Back at home, my head was better than the previous night, due to drinking more water all day whenever I could, I had a drink while we watched some Japanese film about Cherry Blossoms and Lepers, which looked beautiful and moving. But I was so tired, I could hardly focus, then I took a resorb and headed straight to bed. I think I did so at 10.30pm and hoped I could sleep and rest up before the #2nd shoot day began.
Friday – day#2 of NO TELL shoot – 17th July
I woke up to the sound of my alarm, shocked wide awake, feeling like I was only just sleeping properly. It was so hard to force myself to wake up, that it wasn’t until I made it to Darwin’s that I felt I was awake – an hour later! I got there at 8:15.
We hadn’t been given the code. So I called him and he didn’t answer his phone. So I stood there beneath their balcony as I saw the open kitchen door, and shouted up (sorry neighbours!), until Darwin and Tessa heard me and then I was able to get in. NOTE: Put access codes on the shoot schedule. Otherwise even having the address is pointless if you can’t get in. And answer your phone if you’re expecting cast and crew. lol. Some of them later arrived and had issues finding the parking, as that information also wasn’t on the schedule.
Once there, we had a chat while Darwin fixed me some breakfast. That was really kind of him – he really did his best to look after everyone through the shoot and that was much appreciated. I was done with mine by the time the next people arrived. Then I tried to keep my distance (for Covid) and be on the balcony, while everyone else sat close in the kitchen and ate.
It was a hard day, because of the heat and the lack of fresh air in that apartment, Once we blocked off the windows and airways in the living room and rigged up curtains over the empty doorway, to prevent like leakage etc, so we could light the place. In fact, it was a slow start over all. I don’t think we really got anything in the can until maybe the early afternoon, due to lighting, running through and changing lines where needed, to simplify things a bit, where Dana wasn’t getting his / was having trouble. But we were able to finish by 7pm which was a shock to everyone.
The day’s focus was shooting the poker scene, the build up until the gun play starts, shooting the normal angle and the reverses. I think we got some good stuff. Apart from b-roll, Darwin had me on the wider shots (twoers and threers), while he purely took care of close shots / oners. But I like to think that the two cameras was helping us get through things quicker that way, reducing the need for even more setups. Hopefully the captured footage would support that and provide plenty of options in the edit for Darwin.
By the end of the day, we could feel that the actors were in character more. They all relaxed and had fun with it, especially watching Pancho’s big monologue. And the team had been bonding more around food and sharing their love of films. This helped everyone gel better. It helped because when it later gets tense, like when one actor was having issues with their lines and was needing a lot more takes from everyone to get it, it means that people try and pull together, to help everyone catchup.
My only personal low points, were when I realised that one of the small lights was missing (last seen at the restaurant or the woods scene??? – who knows, RIP my lovely light), those ones that I’d been using since MR CLEAN, and the small tripod was properly fucked still, and then my trusty monitor suddenly went on the blink and I was left with the on camera screen. Although it shouldn’t have helped, either it was because I was forced to leave it off for a bit to cool down, or the change of battery – despite running it off mains power – that brought it back to life. However, once it did cool down and then started working, I felt a little better about things and was better able to check focus. But it is a pain when you have to replace faulty or lost gear and it did play on my mind a bit.
I hadn’t felt great all day. My stomach was a little upset and with the heat, the sweat and the effects of the shoot, I ached everywhere. It may not look strenuous doing a shoot, but it is. It is hard work trying to stay in the zone mentally all of the time, and hard to think how it will all fit together etc, think about continuity of lines and actions etc, all while you must be looking like you’re doing very little at all – to anyone watching from the sidelines. Nevermind, worried in case you have to interrupt a take to run to the loo…
After the shoot, we put a few things on to charge, we applauded the team work that day, parted ways, and Darwin, Toro and I went into the public garden area, to enjoy some air, check a few shots while Darwin backed everything up. Then, he drove me home, and the three of us went for food at my local, (just like when we shot the pick-ups for MR CLEAN), and went over the day’s events, the plan for tomorrow, tried to relax and enjoy some food. Oh and shared a pic of Toro eating pineapple on pizza to wind up Andrea, from the MAI PIU shoot, just for a little fun. 😉
After 9pm though, the tiredness had kicked in. They headed home, and I went back to shower and rest, drink in hand, trying to recover from dehydration and tiredness.
Suss and I caught a bit of HOTELL, a Swedish film about people dealing with grief / abuse, but I flaked and had to crash at 10.30pm. I was out like a light.
Saturday – Day #3 of NO TELL shoot – 18th July
It started with a violent dream. And so as I woke – from beating two men to death with my bare hands (luckily only in a dream) – at 5.30am, confused and slightly upset, I was aware that it was down to my stomach, that was upset. This would mean that travel to the set was going to be tricky, if it didn’t sort itself out. I got through it, but I was worried in case of potential public travel drama. Luckily, the carriages were empty as I made my way to Darwin’s.
I managed, despite heat and sweat and no-show busses, to get there early again. I don’t know how. But I was there on location at 8:20. Again the first one there. I made sure things were on to charge / charged, and then had breakfast with Darwin and Toro, before everyone else arrived.
Soon Hasse was there and getting made up by Isabella, while I finished what Darwin had already done, taping up the rest of the black bags in the kitchen to block off the daylight, and we cleared the breakfast table and cabinets, to start shooting the scene with Pancho checking his drugs and preparing to send the text and start the killing.
I think with some experimentation, Darwin and I found a nice lighting for the scenes, using my small lights, strategically placed, with different colours, and their magnets allowing us to attach them under his kitchen cupboard units, instead of the too bright flourescents that they have. This was also more consistent with the warm look used in the living room and other previous day’s scenes. And it gave me the opportunity to help set out the actions I thought Hasse should perform, as suggested blocking to minimise the need for additional setups and practice following him with the camera, to try and give Darwin more of the slick moving camera stuff that he prefers, but with less setups. I think the latest Amaran lights I purchased, with their in-built effects and customisable HSI functions were suitable next gen replacements for lights like the one I just lost.
Sydney arrived and took over audio duties today, to stand in for Reza who couldn’t make the whole shoot. This definitely helps, having a team that is willing to adapt roles when needed, to help out in other key areas.
Then we were back inside to finish the day in the living room again, the continuation of the previous days scenes – shooting the table flip, the killings, one by one, of Shorty, then Popeye and then Jimmy, and then the scene between Pancho and the removal guy – to finish. It was hot. And it was tough going. I think it took two attempts to get the table flip. Luckily, no bottles broke, no cameras were broken, no furniture got broken and no one was injured. However, the mirror that they were doing fake coke off, got broken twice (both sides). I hope noone was superstitious about 14 years bad luck. I did tell him that ideally, they should have procured breakables for such a shoot and protective sheets for the camera lenses – putting safety of the actors and crew first. And I was expecting squibs, blowback on guns and the firing of proper film blood etc as that was the whole point of doing the scenes…. But hopefully it will all work out in the edit and he will add in CG blood hits and gun fire later… yes I probably worry more than I should. But safety of everyone and the gear is my first concern.
It was a tough day I think, mentally, as I had a bad stomach still, and was suffering from the heat and tiredness, but I think Darwin and I worked well, despite my concern over the lack of prep re glass breakables and squibs. I did try to explain to him that I had specifically asked that we had the means to do blood hits, which clearly was not the case. What he had misunderstood was, that we had a makeup person to add hits to people, but not to show the actual hits, with squibs and blood spray etc that I had actually asked about. But I think this is a language / communication issue. I was just surprised, as for me it had been a key aspect of wanting to do the shoot. But overall it was a fun collaboration. Our best yet.
For the death scene, I asked Darwin if he had some replacement wall paper and he did, so we taped that up and covered that in blood, and apart from some marks on the surface in some places – where the tape was later removed – you would never know that a crime scene had been shot there. Much better that leaving a bloody outline on the wall, as luckily it did not soak through to the actual wall layer below…
It was pizzas for food today, thanks to Darwin, and although my stomach wasn’t happy, I was so hungry and in need of nourishment, I wolfed a whole one down in minutes, before being called back onto set. And back into the heat…
I was really impressed with the cast on this day. Hasse was great and listened and was able to incorporate whatever adjustments we needed to enhance the shots. I think Dana pulled off a good death scene (although seemed unprepared to holding the corpse position for so long, to having to be blooded up and have it spill from his mouth etc, unlike the others who took it in their strides), Petrus and Jimmy were all good, pros. And Toro was a star. He really let fly in his rant, and helped the other actors to drop / get out of frame safely, and he also watched and studied everyone’s bits as well as later cleaned up the crime scene – I mean actual scrubbing of blood and hoovering etc – to help Darwin out, as I was packing up the gear.
After the shoot was done, we didn’t have a wrap party, but we said our goodbyes, briefly posed for a group photo, and then parted ways; and then Mina stayed to help us clean up the set, to tear down the gear, and pack it away etc while Darwin backed up the footage. Her help was very much appreciated.
I left all my gear in Darwin’s hall, as we didn’t have the car and so we couldn’t get it back to mine just yet. I tried to keep it together, and organised so it was clear what to bring back. The only concern from my side was that I was still down one tripod (the small Benro hi-hat was dead, unless I could fix it) and missing one USB light, that had seen me through some great productions.
After that, after Darwin and Toro finished hoovering, we lifted the sofa back and then they put it together, while I rested my sore feet. Then we left to go get something to eat. By then I was a hot mess. However, the food was great, as the three of us downed ice cold water, cool drinks and ate nice hot food. But my stomach wasn’t happy still and I had trouble keeping my eyes open, so at 10pm I said my goodbyes – especially to Toro, as he was heading back, but then to Darwin, as other than dropping the gear off, I wasn’t sure when I’d see him next – and then caught the Tbana home.
On the way back from the shoot, trudging home from Vällingby, trying not to fall asleep, I received some lovely feedback on MR CLEAN. It was very much appreciated and high praise indeed. And it made me hope for the future, for NO TELL to receive some similar feedback / praise. One can hope…
I got back around 11.30 I think. I was sweaty and over tired. I dove into the shower. Then we sat and watched a bit of the Crown, with a cool drink, before I had to get to bed just after midnight. I was exhausted.
Sunday – gear back at home – 19th July
Once Darwin got the car back, he and Toro dropped the gear off after 9pm. Once they arrived, I went out to help them unload my gear.
Once we had everything back inside, (still missing that light), we sat in the garden and hung out for a little. In that conversation over a drink, we covered-off some highlights and challenges of the shoot. We also spoke of future bigger projects. And we wondered how things would change, re Coronavirus, and how Barcelona, already seemed to be locking down again. But it was good to hang out with them both again and enjoy what we had achieved.
Then, we parted ways and I spent the night packing away all of the gear, before the next shoot…
Special thanks to Dana for sourcing locations and to Panne Fresco and Teresa Winkler for allowing us to shoot where we did. And thanks to the team for pulling together to help bring this crazy dream to life.
Do check all gear before the shoot. The only piece I didn’t check, the small tripod, failed on location. But it could have been avoided had I checked it!
Make sure shoot schedules contain details of parking (to avoid tickets) and access codes to buildings.
Have an assistant / someone on set to help keep track of gear
Don’t do hasty unpacking and repacking from the back of a car, on the side of a curb, against the failing light (see above re keeping track of gear)
Do proper location recce’s. Actually go to every location, and do a full walkthrough, with knowledgeable crew members. Draw diagrams, take measurements, study the light and sound levels etc
Do plan out each key scene in advance, to save time, with camera diagrams and storyboards if possible.
If doing a film with gun play:
do plan where the blood is going to go
make sure cast members treat every weapon / even fake guns appropriately, firstly from a safety perspective, but also to minimise people discharging all of the gas prematurely
do plan how you’re going to do blood hits – e.g. add them as CG, Low budget pressure sprayer / blood pumps or arrange for special FX / squibs etc.
make sure the cast know what is expected in advance. As we saw, you can’t assume that an actor reads a gun battle scene, where there character will get shot, that they mentally make the connection to needing to learn how to play dead, in uncomfortable positions and they need to be prepared to be cold, wet and bloody…although it would seem obvious. It’s better to discuss it in advance I guess.
We shot another short film, last Monday. Sadly I’ve been a bit run down and suffering from some lurgy since then, so I’ve been a bit slow to write about the shoot. It wasn’t all plain sailing and it didn’t go exactly to plan. But it was fun and it was brief.
N.B. For those new to this type of diary – some observations may seem harsh or overly critical in places. But this is intended to be constructive, to help me learn from my mistakes and improve on every shoot.
Firstly, what’s COMFORT HIM? you might be wondering. COMFORT HIM is a ‘micro short’ film project. At least I think that’s the correct term – for a film that has a run time designed to be less than 5 minutes. But more specifically for a film that is designed to ideally come out around the 1 minute mark.
COMFORT HIM is a micro short horror film project, designed to be shown / seen on mobile devices; especially when films like DON’T FORGET TO BREATHE, SVEN GUNNAR or MR CLEAN have typically lengthy periods before people can actually see them (due to lengthier production times and lengthy festival runs etc). Designed to be seen and shared, if people enjoy it as much as we did making it, we’re hoping that people will want to share the films and spread the word. It will have a target run time of 1 minute ideally, because that is much easier to share on most social media platforms, for high visibility. And we want to test the idea that less is quicker to produce and release, to shorten the production timeline and get more content out there… at least that’s the theory.
COMFORT HIM is about what happens when a sleep-deprived father is woken from a nap, and goes to comfort his crying baby. It stars Hasse Brontén (SVEN GUNNAR) and Sofie Klaesson (MR CLEAN) and Hasse’s daughter Alba.
Originally we had planned to do the film much earlier. Hasse is an avid horror fan, and was on board with the project even before his child was born – right after finishing SVEN GUNNAR. But I needed to do some research first and plan the shoot a bit more… then Darwin and I did a test shoot back on January 13th (which I first mention here: https://eibonfilms.co.uk/2nd-award-for-dont-forget-to-breathe/), before Darwin and I went to shoot MAI PIU in Rome. The idea for the long delay between the test shoot and the film, was to perform a VFX test on the filmed footage… but that last bit never happened due to scheduling and illness…. In the end, as Alba was growing day by day, we just had to go ahead and do the shoot already – before she grew up and started walking etc. But were we crazy to even attempt this? Because everyone knows, “you should never work with animals and children…” right?
The original test shoot took two hours and was a hoot to do. But this was carried out by using a doll and filming in a controlled environment – my home and with my gear and just me and Darwin on the day. However, even then, as it was just me as a one-man-band filmmaker, I cocked-up and messed up recording sound and shot some of it in slow motion. Doh! But I did manage to get from 21 minutes of recorded footage down to a smooth 57 seconds of finished rough edited footage, enough that, sans sound, it still creeped people out in the right way. Nice. So the proof-of-concept worked.
So the big question I had, was could we shoot the actual film in the same way, in someone else’s property, with a full cast and a real child, but in half the time that I’d planned to do the film shoot? – we’d allotted two days for shooting, but intending to shoot the film in 1 day if we could. But then, at the last minute, when dates kept slipping and Hasse was being booked up and had less and less free time slots, we were suddenly down to a restrictive 4hrs of shoot time. Yikes! So, could we pull it off or should we cancel?… we decided to go ahead, seeing as once we changed the date, all of a sudden the crew started suddenly not being available at all. So sooner was better… and then we heard more tales of this virus that was going around…
Sunday 8th March – of shoot setup and housework:
I packed the last gear for COMFORT HIM. I’d been prepping it over the last few days and charing all the things. By prepping it, I mean:
working out what I needed. (camera, lenses, adapters, filters, batteries, tripods, extension cables, duct tape, fake blood and plastic sheets etc etc – you name it I pack it)
making sure it’s clean, working and has relevant accessories.
I have reusable lists in the IOS Notes app, as checklists, that I can copy and tick off and adapt to my needs.
popping gear into relevant carry cases and ensuring that it packs into the smallest available form factor.
charging all batteries, in case we can’t use domestic power.
creating preset in camera – including setting the date, aspect ratio, codec, frame rate etc.
prepping all relevant paper work – including also pre-populating shot tracking apps etc.
I do all of the above for every project I embark on.
I was nicely prepped before Hasse called and I was already putting the gear outside ready for him when he arrived. Soon we had loaded the car and were on our way, talking about the premiere, how SVEN GUNNAR was received, and some other films that Hasse hadn’t seen yet – because we talked about the experience of viewing UNCUT GEMS.
We unloaded the car at his apartment building and then took everything inside as his visitors were leaving. Then I got down to the business of unpacking the key stuff, tripods etc and assembling the camera rig and ensuring the mic boom was ready, and setting up the lights for shooting. Hasse and Gina had to go out for a meal I think, so they left me a key and then I finished setting up a half hour later and then locked up and left.
On the way back, I made notes on my phone of other things to do before the shoot. Then as I had dinner, and as I was cleaning up, inevitable messages from the cast and crew needed attending to. The good thing was people were raring to go. 🙂
Meanwhile, I was also putting together detailed storyboards, using screen grabs from the test footage for COMFORT HIM and sharing them with Darwin so he could study them and see how he could help me out with 2nd camera – this was our strategy for trying to cut down the shoot time, trying to double-up on camera angles for options in the edit, so we might save time in the shoot. It was worth a try. Although he’d had the test film for months to review, I figured this made it easier to reference on the day.
As I was getting ready for bed, I wasn’t liking the sudden wind that was kicking off outside and my brain seemed to dwell on the shoot, despite any attempt at meditating such thoughts away – would I sleep? I doubted it….
Monday 9th March – Shoot day
I had a rough night trying to sleep. It was really windy outside and hot in my room despite using a fan. Also, I meditated multiple times, and I was not consciously stressed, but it wasn’t until I said ‘fuck it’ to the wind rattling the windows and opened them around 3am to cool the room down again, that I finally passed out for around 2 hrs of random patches of sleep. When the alarm went off at 6:15 I felt out of it and exhausted. Perfect energy for filming… not.
I got up and hurriedly got ready – more to get my head in the game, then being late and stressed about it.
I got the train I’d aimed for. Yes, these are super low budget productions – few of the team have driving licenses and cars free – especially if their partners use such transport. So most of us used the train and bus to get to location. But at least we had sunny weather today!
As I was on my way there was the usual random messages that any crew generates. Like ‘how do I get to the location?’ ‘where is it?’ – I am constantly surprised by how few people check such details in advance and leave it to the last minute, despite all information being provided days before… I offered to wait at the bus stop for people once I got to the nearest stop to guide them there, as I got there early. And once we were a small group, it seemed Darwin and I both had little sleep.
Once inside the location, we were raring to set up. A quick safety explanation and introductions were made and then Darwin and I got set up ready for the sofa shot, with Hasse waking up; he then went into makeup and baby Alba met Viking, Isabella’s dog – yes we had both a child and an animal on set :).
The shoot was stressful at times. Seemingly simple takes were proving challenging, despite a video example of exactly what we wanted being freely available for study for months by all involved – both the timing, performance we wanted and shot composition was all there. I produced the test video because often words are not enough to communicate an idea. But yet everyone seemingly forgot that we’d ever done that test shoot – so we were kind of facing a blank slate.
It was helpful that the natural light was great today and we didn’t need all of the lights that I’d brought. That reduced setup times.
Sofie offering to help and to do sound for us too – when she was not in character. This was amazing and much appreciated. Darwin was helpful for the most part as a second camera and alternating with the clapper and I really appreciated getting to work with him again. But I did have to focus on my own shots as well as communicate when I saw him going for angles that I couldn’t use / hadn’t planned on – where I noticed that they would not be helpful / couldn’t be used in the edit, or when I noticed some shaky handheld. “I can’t and won’t use this.” I think I said after viewing one shot. – I often don’t enjoy hand held shots when they are done well. But I hate it more when it is badly done / overly jittery, as it says to me that we don’t know how to hold a camera and I knew no such shots would survive the edit. All would be unused – if we had planned on doing it, we would at least use cameras and lenses with stabilisation.- We were mainly using vintage lenses and the BMPCC 4K which doesn’t have stabilisation.
So why was I stressed? Well we were up against the clock – having much less time than we needed for the level of polish I aspired to. We were up against the impending next appointment that Hasse had, to rush off and record a podcast – as well as the good temper of our smallest cast member Alba. As the day wore on, our very real baby actively did baby stuff and wriggled a lot and got more restive. This and some natural difficulties doing simple lines / issues replicating exact performances and camera movement, and then having to fit in time to do makeup when some shots took longer than planned, proved challenging. But despite these challenges, I think that the overall mood / humour was pretty good throughout. And Gina, Hasse’s wife, was amazing at keeping Alba entertained.
Sofie was funny, fussing and constantly smiling over Alba. And Alba and Viking were happy amid the chaos. And despite the stress Hasse was also under, fitting a shoot in before other appointments, his good humour and patience was also much appreciated.
After Hasse raced off, Darwin and I did a bit more foley / sound with Sofie, then I backed up the footage onto my hard drive and we left to go and get lunch. After a good chat, mini wrap party, we parted ways – all happy but tired.
I got home, feeling brain dead around 4pm. I showered once the files from the premiere and the audio SD card were also being backed up. Then I had the depressing task of reviewing every single take to see if I could use any of it – it’s hard when your aspirations and desire for perfection are hard to overcome, after the fact. It’s also annoying when you see that not every camera was set up with the correct date and time info… oh well. But I pushed and reviewed every shot.
I also bought PLURAL EYES, to try and make the task of syncing up audio much easier… although the process seemed to work great, I would need some help to interpret the clips and get them organised in the best way in FCP X once that was done, as currently it looked unusable for this shoot – in fact it looked like an overly confusing nightmare of grouped clips, which were in a nonsense order. Was it because of the shonky date stamps on the video files?
Eventually I confirmed that the only shots that were not really to my liking was the crib scene – although a do over for it all would also help me, but no one would agree to that 🙂 . I communicated with Hasse to arrange when to redo that bit, to also grab some more foley / dialogue from him and then pack up the gear. Sadly it would be another early morning, to race over there, film the crib bit and then pack up all of the gear to get out before his next appointment the following day. I was hoping for a more chilled day / finish to the shoot, and a lie in tomorrow, but it was what it was.
I couldn’t really concentrate due to a weird sudden stomach pain, beyond thanking the cast and crew for their help and time etc and planning what I would do the following morning. But also knowing that there was a chance I might not be well enough at all or that any plans made would be ruined anyway.
As I hit the sack, my stomach was not good at all… it wasn’t stress. I knew that at least. I was mostly happy, apart from having to get stuff finished tomorrow… at least there wasn’t a foul wind outside…
Tuesday 10th march – pick-ups and pack-up
I managed to sleep last night. Strangely, mainly because of the cold (having the window open) and exhaustion. But the five hours of [interrupted] sleep I got was enough to help me function.
I was at Hasse’s place as planned. Only then they wouldn’t let me in… lol. I think I was my typical too early again…
Once Hasse let me in, I instantly went to set up lights and set up the camera for the crib shot. The light wasn’t there today, as per yesterday. It was rainy and overcast and far from ideal, so I had to use all of my lights to get any kind of workable light. I tried with a lighter lens and with and without the monitor to lighten the rig and it was still awkward trying to shoot through a crib. And this time Alba wanted to wriggle through every shot, to turn and grab the camera etc which was charming, but challenging… So despite getting a better angle today, it was also different – not worse, just different. But we pushed through.
And then of course, Hasse ran out of time for recording sound after the pickups and so I packed-up the gear – super quick. Faster than I’ve ever done before. Soon Hasse and I loaded the car up and Gina drove me back to my house. I really appreciate the lift. And soon I had everything inside and started to slowly, confusedly – as the tiredness kicked in after food – to unpack it bit-by-bit and eventually square most things away.
I tried and failed to get the COMFORT HIM audio synced and useful for editing. Mainly I couldn’t get automatic import into FCP X to work. But then once I did it manually the file still looked like confusing garbage. It made no sense to man nor beast, no matter what I tried. The audio may have been synced for the most part. However, it made no sense why the first shots were at the end of an 5 hr timeline and not at the start etc and having too many lines of edit to work with. WTF!
From two cameras, I now had over an hour of footage. Taking out the pre and post roll parts of each clip and any ‘making of’ type shots filming BTS, I was left with 34 minutes of footage.
But there was plenty of time for that. The shoot was done.
Update: I’ve now gone through it all and I have whittled it down to 21 minutes of usable footage. Now the editing can begin. But I am resigned to manually syncing each clip to the audio…. but all of the shots look great. It’s only how the performances play and how I put it together / make them work in the edit that will take time.
I’am also full of some virus. No I don’t know if is THAT virus. But I will carry on regardless. I’m self-isolating, based on government medical advice and have nothing but time, if little energy, on my hands.
They are right to advise you not to work with children or animals. Things will not go easy on such shoots. However, Alba was a joy to work with. And she really awakened the Maternal instinct in Sofie and had the crew laughing at her antics. And she put up with a lot, considering all of the new experiences and sensations / distractions. Viking was also good, considering everything that might make a dog bark at.
If you think you need more time, try and replan the shoot until you can get the time you need. Working under such pressure is never ideal. Less time means compromise. It’s not always a creative fire / inspiration.
We knew that, going into this shoot without enough people was folly. I really wanted to follow the mark each shot and follow the shot list and get each composition just right as well as get sound sync. Sofie was amazing helping out by holding the boom for us when not in shot, but it was a lot of running around / stress and corners got cut. As a result, I almost tripped and had an accident during one shot. Fast isn’t careful. Two more people, the people that suddenly couldn’t make it at the last minute would really have helped. But that was my fault for having to change filming dates.
Because you have a camera that shoots professional footage, it does not make you a professional. It is very easy to turn up on set and shoot, but you should take time to prep the camera and create shot presets and ensure all data is correct before taking your first shot. The time stamps on our footage claimed it was being shot in January and March respectively! So that’s fun when trying to use shot metadata to sync up shots later on. I need to check this rigorously before any future shoots.
You should use identical lens systems if trying to match multiple cameras, to ease the colour grading / speed up matching shots on post. It still won’t match, but it will make it easier to do so. I don’t think things will be too tricky. But we’ll see.
You should cut makeup shots if trying to keep to schedule. Isabella was amazing and did her best in impossible conditions, but we should have given her more time and had more time available to shoot – the makeup wasn’t important for the film per se. It was a nice-to-have, but it was an added stress. Do it right, or not at all. Right?
You and your camera team should discuss stylistic considerations before the shoot or before a take – not after. One angle was unusable on a perfectly good take, due to deliberate shaky hand held being applied. A perfectly good moment of time / take that we’ll never get back, when that angle was better than the one I’d had. Luckily there wasn’t much of this. But communication is key.
You need to be in a location you can control. And you need to be able to control the schedule. But you will always find challenges, even when the shoot is smaller and less ambitious than other larger shoots. Less isn’t always less.
Overall it was a real pleasure to get parts of two teams together – those of MR CLEAN and SVEN GUNNAR – for a new project. And despite my reservations about certain takes – comparing those in a very controlled shoot with a doll, to that of a live shoot with more live challenges – we did pretty well with what we had. And thanks to everyone who has helped us get here so far, and the post production team that is now waiting in the wings for me to pull my finger out and finish the edit!
I can’t wait to get the film finished and to show you all and share and share away.
Hasse and Gina for believing in the project, entrusting their daughter to us, and helping shift the gear and providing us with a great location and half the cast.
Sofie for not only giving a great performance, as always, but also trying to help us get sound too.
Alba for putting up with us and being a star.
Darwin for working that second camera and helping me get through it.
Isabella for doing great makeup under tough time constraints. 🙂
I’ll keep you posted as I progress this project. Thanks for reading!