Gettin’ Wired

Sandhya caught the train. But missed St Albans Station. So now she’s in Harpenden, further up the line, and waiting for a train back.

I’ve done the titles and credits in Word which hates me. In fact, it hates being used as a word processor. Why does it keep changing the font to Times at random every so often? No rhyme nor reason, it just does it. Anyway, I nabbed some colour paper from work so I’m printing credits out on sheets of that now.

No word from Lionel. Has he redone the opening title or hasn’t he? Oh, the excitement of waiting to find out. I can hardly begin to express, to emote, to make my eyes go all buggy with the intensity of it. Probably that last. No, definitely.

I’ve got all the camera and lighting and sound kit, though. It’s all over the flat, weighs tons and is probably destroying my suspension when I drive it around. Jaffa’s buying this car in a couple of months. I think he knows what I cram in there.

Okay, time for another pint (Imperial pint, that is) of “Symbol of Free West”–Coca-Cola (sugar free).

Uh oh, phone! Gotta go…

Wot No Crew?

A free ad has been placed on Shooting People’s mailing list for the essential crew…

Always more useful if they actually print your free ad and send it out in the mailing list, I find. Yes, that certainly would help.

Maybe tomorrow. Meanwhile Andy Martin gives me a quizzical look when I say I don’t have a camera assistant yet. Or a loader. “They’ll turn up,” I say knowingly without the foggiest idea of how they will.

But just how am I going to get that film into the camera? Uh, oh.

****

Sandhya (pronounced Sandy) phones at 11pm and is available on Sunday, so that’s that problem solved. Phew. Everything else is icing on the cake now.

****

Next day…

But now she can’t make it. But she’ll help me load the camera magazines on Friday night. And she’ll try to come along on Saturday afternoon.

And Olly phoned to say he could be gaffer for the day. And Hannah can come and do sound. And Kathryn can come and do everything else, like boom op, logging and continuity. So we have a crew.

****

And There’s More

We have some lights, thanks to Simon (writer) and a camera and some stock but no sound kit…

Silly me. The simple answer was to phone Four Corners and see if they had a DAT and a microphone, which of course they do. So we’ll be using that.

A free ad has been placed on Shooting People’s mailing list for the essential crew and Mike/Charlie has bought new sunglasses but now he wants some expenses. Well, whatever.

Now I think all we really need are some sarnies. And nice ones too. Not the overly margerined ones like we had another time but I can’t complain because I didn’t make them or pay for them. Except they weren’t, erm, ‘more-ish’.

Oh, and Andy wants a copy of the rough cut on VHS. And somehow I really ought to try figuring out how to make a DVD tonight so I can enter Cannes which has a deadline on Monday so that means doing it today. And then I could send it to Dani too and he might do some music. And and and…

Write For Us, Dance, Skip, Amuse

Whatever.

I come back from George W’s utopia and am immediately struck down with lurgy. This means, horror of horrors, that I waste two sick days actually feeling sick and unable to do anything much except sleep, sweat and sup chicken soup. It nourishes me, precious. It nourishes me.

Honestly, I get so hacked off with being sick. It’s such a complete waste of time. And sick days are wasted on being sick when the sun is shining and there’s so much to do.

Two days later, when I come to, I realise that I have one weekend free in the next four when I’m not working and it’s next weekend. And I realise that if I want to get The Car finished, then that’s the weekend when I need to do pick-up shots.

These are shots to replace the ones which have lens flare in them or which don’t cover up nastiness which needs hiding from the public gaze. Nastiness, precious–we hates it. Fears it. Okay, we am not that bothered about it but if we is ever going to wins a prize for film makings it would be better if the nastiness wasn’t there.

I make some calls to check if the actor is available… he is… the location is available? It is… The equipment is available… oh, yes, precious. It is! But at a price. It is now £45 to set up the equipment and £45 to check it in. Plus tax. That’s on top of the £300 hire charge and the £45 extra for using a follow focus rig. And then there’s the insurance.

Yes, precious, they likes their insurances. Bastards. Gollum. That would be another £165, bringing us to a total of £600 just to hire the camera. Cheaply. For one day! Add on tax and we’re at £705. One third of the short film budget. Gollum gollum. No wonders peoples is shootings on videos, precious. They steals the precious budget!

I phone Four Corners, the film workshop who didn’t get back to me before, back in October. Will they are answer the phone this time? Yes. Yes, they do. Wow. I ask about using a camera on Saturday. Yes, standard 16mm. Yes, with a tripod, filters, etc etc. Prime lenses? Please. They say… £100. Guess who I’m hiring a camera from?

So, I’ve done my rough edit on Final Cut Pro and I know roughly what I want and therefore, need. Now I need to assemble the motley crew. But of course, they are all working/sick/abroad/unavailable. How hard can this be? Oh, very very hard. Hahaha. Film making? Just because you have a camera, doesn’t mean you’re making a film, oh no. Hahahahaha.

So far I have an actor, a location, the important stills which we used a prop which is incredibly lucky, a first AD, a cameraman, the car! Hooray! And also the production designer and… well, that’s about it. We have some lights, thanks to Simon (writer) and a camera and some stock but no sound kit or sound recordist, no camera assistant and no loader.

And the actor has broken his sunglasses. And they don’t make that style any more. And he wears them in every shot.

It’s going to be another one of those weeks.

Is it wrong that instead of worrying about what’s not immediately to hand, I think about how nice it would be to have decent catering and I wonder how I can set that up?

My Cartoon Life

Panel 1:
Woke up. Got dressed in superhero costume then regular street clothes over the top.

Panel 2:
Checked email. Transfered money needed to pay credit cards from checking account to savings account.

Panel 3:
Tidied up apartment in a vague way by moving bits of paper from one place to another.

Panel 4:
Lucy came round, watched football and bought some of my furniture in preparation for having the property valued and selling up.

Panel 5:
Went out for fish and chips.

Panel 6:
Marvelled at the special Saturday spectacle of minor celebrities and has-beens embarrassing themselves on national television while other minor celebrities provided mindless commentary.

Panels 7-11:
Went to work and drank Coca Cola, symbol of Free West. Music with a catchy bassline came on in the background. Hordes of dancers appeared out of nowhere and we broke out into a spontaneous performance for five minutes in strongly backlit artificial rain.

Panels 12-20:
Snuck out and saved the city during a pre-recorded item.

Panel 21:
Went home and slept the sleep of The Just.

Panel 22:
Skin tight dreams of superheroines in peril and satisfying out of body experience which editor replaced with angst-filled introspection and a Doctor Strange chapter full of psychic robots in final published book.

Panel 23:
Cool David Bowie soundtrack over end credits.

Fin

I Quit

Wrote my resignation letter this morning. Three copies–one to my line manager, one to head of department and one to head of personel/human resources–all in the post and on their way. They have a three month notice period so I’ll be leaving at the end of May. It feels good. It feels a little bit scary but not much. Yes, I’m that confidant in my own abilities. Still, it’s a step into the unknown.

Bye bye BBC.

Today is the first day of the rest of my life.

Unduly Harsh

Overheard while visiting the shops in St Albans today: “It makes you fink what the sort of fing there is.”

It’s wrong isn’t it? It’s wrong on so many levels. Among other things it says, subtext, that this woman has had no conceivable benefit from an education yet here she is living in St Albans where house prices are £180k for a two bedroom flat and moving rapidly into the £250-£300k bracket for a house. How does she make enough money to afford this while using so little brain? Where am I going wrong?

Hertfordshire County Council sent me a newspaper today. Once I’d finished weeping with joy at their considerateness in keeping me informed about how they’re spending my money by spending more of my money, I glanced at it. “Most people we surveyed,” it baldly stated, “would be happy to pay more local taxes to maintain services.” So they’re putting local taxes up. By at least 15 percent.

The question I have to ask myself is why? Why does it cost the council an extra 15 percent to provide the same services as last year?

Yes, the *same* services. They were clear–“in order to maintain services at the present level we would have to increase council tax by more than 15 percent.” When inflation is around two percent and salary increases are at the same level, why does it cost the local authority such a staggeringly large amount more than it costs everyone else?

“As we went to press we had news of the Government’s provisional funding which left Hertfordshire with one of the lowest grant increases of any county,” wrote the author of this monkeybusiness. Yes, they are getting a massive grant from central government. And it’s being increased. But not increased enough for the wanton wastage which HCC has got in mind.

As the woman said, “It makes you fink what the sort of fing there is.”

I had to buy two large bars of chocolate just to maintain my equilibrium.

Art For Art’s Sake

Tomorrow I’m off to Screen East to see if they might give me some money towards a print based on this rough edit.

Glad they could pencil me in for an hour to tell me they aren’t funding short films unless they’re shot on digital video. What the freak is that all about? “Too expensive” and “Short films only benefit the director” were two of the choice phrases. Oh, they could be part of a slate of films which include features???

Looks like I made the right–and only–decision to fund my own work on celluloid in order to learn what it can do. Digital film–an oxymoron for the 21st century.

Yes, it was well worth spending six hours on the road to get up to Screen East’s headquarters and back again. No, really. Especially that bit sat in a traffic jam for an hour, moving forward one mile only to find the A11 was blocked by an accident and there was a diversion. A thirty-two mile diversion. No. No.

Still, managed to get two very good ideas for running a training course for other directors and spent an hour sat in my car editing The Car on the laptop. I’ve now seen more Norfolk scenary than I ever realised I would. And it’s amazing how many radio plays the BBC puts on the air during the afternoon…

====

Today has been spent adding music for which I’ll never be allowed the rights. Or rather, which I’d never be able to afford. Shame. ‘They Did A Bad Bad Thing’ and ‘Gone Daddy Gone’ are just *too* perfect. The Violent Femmes track even changes to a marching drum tempo in exactly the right place.

And After That…

Simon now has the rushes for The Car and should have started work on them by now. I’ve completed a rough cut on my Mac and I’m really pleased with it. Lots of audio work, but it’s coming together. It’s also useful to edit myself as I’m discovering exactly how many extra shots I really should have got to (a) give myself some options and (b) dig myself out of holes.

Tomorrow I’m off to Screen East to see if they might give me some money towards a print based on this rough edit.