Principal photography is over, phew!
We convened at my house pretty much in time yesterday; the idea was to meet at noon, shoot from one, pause early evening till dark then film some more until maybe ten or eleven.
Half past ten we wrapped. There were slight changes to the script in order to speed things up and we decided to save the external shots until daylight.
Everyone was brilliant on set - and patient. We did have enough crew to form a second unit but due to technological constraints (my camera only records directly to a laptop) we could only shoot one set up at a time.
If you ever need an enthusiastic, energetic and competent crew, I can't recommend the following people highly enough for their skill, ingenuity and professionalism:
Actors: Hannah Matthews, Harry Peach
Production Designer: Billy Cessford
Prop Mistress: Rachel Lee
Camera Op.: Peter Suttron
Lighting/Sound: Karl Keenen
Make-up/On Set Photographer: Hannah Prince
I'll be making a rough cut today and hopefully working with Curtis Rowlands next Wednesday on a musical score.
I'm not quite sure if this will cut down to a fully understandable 90-second film; we threw so many ideas into the mix both at the script stage and on set; character motivations evolved and unscripted backstory was filmed too.
The deadline is this Friday. There will be a 90 second cut for that. More exciting s the Directors Cut. There is no time limit in that and as of this morning, there's 63 minutes of tape to choose from!
Next up: breakfast. I didnt eat much on set yesterday; there wasn't really time but moreover, I wanted to 'method direct' - to have that hollow feeling of lost love inside so that I wouldn't stray from the point of the story: a study of a man shredded by his feelings.