Production update

Just a quick note to say that tomorrow morning we begin to shoot the last major part of the film. On Thursday and Friday morning we are indoors, shooting in the flat, and then we are out in the forest for the last 4 days. I can only for good weather. More to come...

Where to start?
I have just begun pre-production for the final phase of the shoot. There are two great pressures. First there is the of course the issue of the time of year, the daylight and the weather. The sun is going down around 6pm, and we are losing around 3 minutes of daylight per day. Scheduling this means I have a lot less time to play with and 4 day shoot in August is now a 6 day shoot in October. On top of this is the weather question. Now, I know that there isn't a month where you can't assume rain here in London but those risks are increased when you combine it with the lack of daylight. If I have to cancel a day because of rain then when do we pick it up? The days are not getting any longer or warmer.
A more interesting issue is what the edit has thrown up. I have already written about how I have added detail with video, and now I have to plan to shoot these new sequences on film. This means a complete re-shoot of scene 42 so that the weather and light matches together. This scene follows on from Claire's break-up with Nick, and details her entrance into the forest and her confrontation with her fears. It precedes the Norway segment and at this stage is one of the most important scenes in the film.
And then there is the edit. So much to say. David saw some of the segments last weekend and had a lot of comments and suggestions, which to me was very positive. I felt there is so much work to do, but we have something to work on. What I showed hung together.
Which brings us to sound. I have just begun to really play with the sound as another dimension.
It was especially interesting to hear David's comments regarding the long blackouts I included in second segment. Now I had arbitrarily set these to be 20 seconds long which I thought might seem like an eternity, but in the viewing felt like 2 seconds. To be fully developed they can be a minute long. How to develop them? That is what is so much fun. I have begun sampling sounds from other parts of the film, voice, odd sounds that happened in by accident, pushed the volume down and chopped off the top and middle frequencies and then mixed them with some of the atmos tracks that Roland recorded. It is fantastically suggestive. Now I can't say what I am getting at yet, and I wondered if I need to know. Could I just approach this idea instinctively? We'll see...

Whew! I've done it

Yes, a long time since I posted, but I really wanted to have something to report.
And what I have managed to do it finish an assembly edit of all the material to date. So that means what we have shot for the first segment (we plan to shoot the missing bits at the end of October), one edit of the second segment, and two edits of the third and final segment in Norway.
The second segment includes the additional material I shot with Flora in Wanstead last week. I already said that when edited this part first and immediately felt that the final scene lacked development. There just wasn't the detail there to suggest the relationship between Claire and the landscape. Now there are a number of scenes still missing in both this segment and the first, that also add detail to this theme and I suspect that at the end I will have too much, but I would rather be in that position than not have enough material.
So I have cut this video into the film, or rather the DV dubs of the film, and when JC returns he can see what I have, and we can go from there.
It was also time for Roland to begin playing with the sound design, so he came by and took away an earlier version of this second segment with the idea of creating some play material for me. I really do not want the sound design to be slapped on to a finished edit. Instead I want the sound design to change the edit itself.
Once I finished the second segment I went onto the third segment. Now this is the part where I need to do the most worrying. What can I do if I am missing some key material? Not only is there the expense, but there is a real winter in Norway. The earliest you shoot again is in April.
I realise there is a contradiction in what I am trying to achieve. On the one hand the shots of the landscape have above Claire's story. The exist outside of her. But at the same time they are meant to create a unified whole to this segment, to be the final part of the arc of her story. How to do both at the same time?
So I am at this moment burning DVDs of the these editing sequences. I have invited David over to watch them on the big screen where I hope I will find some objectivity and some useful feedback. Is there a concept here? And if not, some other ideas? So news from Monday...

Editing begins

I have been putting writing this post, probably because the beginning of this process is filled with such ups and downs.
When it goes well you just want to continue editing. When it goes badly the last thing you want to do is write about it.
What has been done?
First the tedious but necessary task of capturing all the material. Of course I have not finished shooting yet so there is more to come, but so far there are 8 DV tapes worth of material, equating to around 8 hours of footage. Logging and capturing this material took around 5 days.
Then the editing starts. I have divided the project into three logical segments. Segment 1, which is for the most part incomplete focuses on Claire's life with Paul. Segment 2 begins when Claire moves into her sister's place and her relationship with Nick. Segment 3 consists of the Norway section.
Once the footage was captured then I had to face the question in the room, how do I edit this? What is the strategy? Where do I start? And then there was the urgency of the upcoming October shoot: what might be missing that I could pickup in October?
For this reason I began by editing the second segment. If there was the need I could do some rewrites and pick up the new material or reshoot material that didn't turn out. On the other hand if I was missing something from Norway I wouldn't be able to do anything about it until the spring.
Where to start? Well the most critical parts of the second segment, the end, where Claire overcomes her fear and makes her way into the forest. I assembled this roughly and I quickly found that I did not have the material to fully develop these scenes. Essentially there is not enough detail. So, tomorrow I off to the forest again with the video camera to shoot some test segments which I will be able to incorporate into the edit. When we begin shooting in October I should have a pretty clear idea about what else we need to pick up.
So I finished the second segment on Friday morning and started the Norway segment in the afternoon. Now this gave me a sleepless night. As I roughed it out I was most worried that we did not have the footage we needed for the long coda segments, that is the those shots of the landscape that stood above and behind Claire's story. When we were there I struggled to think how they might be structured and now I was seeing the results. At the time we simply went out and shot as much material as possible, and also repeated some of the same shots at different times of the day, thinking that in all that some concept will make itself apparent. But this morning after some long thoughts I came up with a possible solution which seems the most obvious, but that the structure must be simply the relationship of each shot as part of a location, eg. a series of shots around the beach, around the mountain, etc. So link together the shots that were geographically linked. I am not sure if this solves the problem but at least this afternoon there seemed to be some coherence to the sequences.
I have also found some other segments that are missing detail, for example the scene where Claire's goes swimming. The idea, that she is immersing herself in the environment does not come across. Can I cheat some new shots here in London and insert them into the edit?

David's photos from the Dalston shoot

And now some photos of the last shoot, most of which took place in and around Dalston.













Here Sophie (Lucy Richards) visits Claire in the flat she shares with Paul.
She has never been invited here before.














With a little help...This time around I had Joana as a production manager and Will as a 1st AD. This meant that pre-production and production went a lot more smoothly and I could spend some time actually thinking about the story. Here I took advantage of some extra time and wrote a number of new small scenes. Here Claire is in the back garden, looking up to the trees and then into the house. Is Paul waiting there? Perhaps. I have not decided where this scene will sit or even if I will use it. I have repeated the image of the treetops here.














Then one day Claire watches Paul leave for work...














She washes the sheets. He won't find her odour here that night.














And not only does she remove her clothes, but she rearranges his so that it is as if she were never there...














...and closes this chapter.














In the latest outline Sophie makes a number of appearances throughout the story. Here, late in the second segment Claire and Sophie visit an art gallery where the work of her favourite photographer is being displayed. Of course these photos are David's, from a project entitled Nationale 7.














But they have a different reaction to what they see. Just as their relationship will end shortly.

And then some us in action...













A comfortable chair, a moment to myself.














Azahara and Lara give the walls a touch-up, to give it that white-walled gallery look.














David had the added stress of hanging his photos, and then...I guess JC must have taken this one.














Rob sets up the camera for the series of shots along the wall. Here Sophie and Claire go over the photos in the gallery.














Fabiano prepares Lucy. He stood in for Beth who could only make the Monday.














Joana and Fabiano.














And now the photos are mounted, the wall is painted and we are ready to shoot.


And in Dalston...












How many of us can you get in a bedroom? Cameron on the right, prepares the wardrobe for the scene.




















Rob being overlooked by Monica.
















































One moment one when Will wasn't moving us along.














Marc, in the background, tries to keep the boom out of JC's frame.

What was done...and not

So, finally a report on this past week.
A small disaster. Flora became ill and we had to cancel the first three days of the planned shoot. As she is in every scene there was not a lot we could do without her.
When she recovered we managed to juggle a few things and shot approximately 2 1/2 days. We covered all the scenes which include the character of Sophie.
Most of this involved shooting in my flat, which stood in for Paul and Claire's flat. As days are getting shorter and with some delays that meant JC was doing a small amount of lighting here, something we try to avoid.
Besides the flat we also had a few locations to cover as well.
Towards the end of the second segment Claire and her friend Sophie visit a gallery as part of Sophie's birthday. Here David did double duty. He was there to take photographs of the production, but the character's also came to see his own photographs. I didn't want to have the characters go to a gallery and just see whatever happened to be on display there. We found a place where we could do a little hanging and painting and put up something that would add another layer of meaning.
David did a project a number of years ago titled Nationale 7 - Le route bleue. Nationale 7 or Highway 7 used to be the main highway from Paris to the south. In August millions of Parisians would embark on road to begin their holidays, but now the road has been bypassed. Now the culture along the highway is crumbling. What I became interested in these photographs was the sense of loss.
http://www.davidboulogne.com/photoproject.html
We also went back to our Holloway Road location. Sophie drives Claire back to Natalie's flat, where she is staying. We were trying to capture the end of the relationship, with two shots, one inside the car, a strained and empty conversation about nothing, and then the car pulling up and Claire stepping out and waving goodbye to Sophie. Sophie's part is small, but I wanted her role to be more than a support for Claire. She has her own journey which is similar and contrasts with Claire's. What could see in her as she watches Claire step out of the car and wave goodbye? Well, all our work was for nought as we found we could not see her face clearly through the windscreen. We were left with a vague shape in the windscreen and the indicators on the car. This might work. If not, we will need to rethink the scene.
We ended the shoot at the pub The White Hart on Stoke Newington High Street (http://www.beerintheevening.com/pubs/s/43/4360/White_Hart/Stoke_Newington). This takes places at the end of the first segment. Claire has just come from seeing Natalie's flat for the first time and meets up with Sophie to tell her about it. Sophie, here already has an inkling that her relationship is falling apart and is not much interested and has trouble following what Claire is talking about.
I also introduced another actor to the production, Fred, who will play Paul. We shot one scene with Paul, Natalie, and Claire. Here Paul discovers Natalie, the sister that Claire has never spoken about.
Where are we left? We have to shoot all the scenes with Paul, plus a few new scenes I just wrote. This will all have to wait for October, as JC just left for China for six weeks.
Next, David's photos...

Pre-production - Dalston

Well it's actually more than just Dalston, but this is the final push. We have 5 days scheduled next week, in Dalston, Shoreditch, and Wanstead.
This includes all the first part of the story, starting with Paul, and how Claire comes to leave her. And we meet Sophie, Claire's friend. Here Paul meets Natalie, Claire's sister for the first time.
Do I think it will complete a week this Sunday? No, just that there will be enough to begin the edit and the end of September. In seeing this edits I am would be surprised that we don't decide that we need something more or something different. In principle though, this is it. I am finding the whole idea of finishing it rather frightening. While we were workshopping or as we had only shot this or that part it seemed that there were still possibilities. Now, thinking of completing the principle shooting we will have to make a decision. This is it.
More on this next week...

Wanstead - photos

Here they are, David's photos from the Wanstead shoot in August.
Starting with the production photos...













Claire arranges to meet Nick, ostensibly to tell him about Natalie.














In the middle of their relationship, they are out for breakfast one morning. He leaves her without telling her where he's going, suggesting he is seeing someone else. The truth is far more mundane.













They share an intimate moment one weekend morning.















It's all over, and Nick is at a loss for once.















Once it is all over, Claire has moment of realisation: she confirms to herself that she is alone.














She has the courage to enter the forest...














...and lays herself down.


And the us in action...














On Wanstead High Street at the Caesar Palace Cafe where Claire and Nick have breakfast.














And Hu and JC's view on the scene.














Here in the park across the street Beth applies some touches to Flora.














The Sunday morning in Epping Forest, Marc listens in on the scene.














Once the rain was done then we had the sun in our way. Hu tells me about the magic hour.














JC gives me a good talking to.














Sunday night the rain is done and we shoot the final shot of the middle segment, the iconic look. I have my eye to the camera (unusually) and we must have done 20 takes, and expect to redo this anyway, to get it right.

Wanstead/Dalston

So, another segment done. And it all went very well. Mostly the weather, where we managed to squeeze between Saturday, with its steady drizzle, and Tuesday, with it's torrential downpour. It was especially critical for Scene 33/34 in which Nick and Claire spend an idyllic day in the park. Now the other days I think I would have preferred them to be gray and dull, but there was nothing else for 33/34.
On Sunday night our luck ran out, at least temporarily. Up to that point we were ahead of the game, behind in some shots, then ahead in others. We spent the morning in Epping Forest, then the afternoon in Wantead. In the evening we returned to forest to film Scene 41/42, where Claire breaks with Nick, and then makes her way into the forest (that is the Scene 42). Now to me these scenes were critical and difficult at the same time. Here was where we planned to move the camera, as I said previously, not a small thing in a film where the camera is essentially static throughout. So we get in the cars and head back to the forest and there is downpour, a monsoon-effective rain burst. We are separated, a misunderstanding, and the only way to reconnect is to trudge about in the muck, through the downpour.
We managed to find each other but the rain did not look it was going to let itself up. What's more the ground was naturally soaking wet and Flora was required to lay herself down in the grass. Not pleasant. We considered postponing the whole Scene for the morning, but then a break. Suddenly the clouds broke and the sun came out. Everyone was happy except JC, who now thought there was too much sun. He had a point: it was meant to be dusk.
We managed nearly all of ours shots but one. This we returned for in the morning. The tilt and pan across the gray, slate sky.
The two critical shots were a pan from left to right, in which Claire enters the forest right to left. We thought moving the camera here was justified in that this moment was a breakthrough, where Claire has accepted that she is alone, and confronts her fear, in the forest. She enters, and lays herself down, looking up to the gray, slate sky, looking for an opening.
There is none. And in close-up, looking up at the sky, she contains all of this realisation in a look from the sky to the lense. She sees us and tells us.
The next afternoon we were in Wanstead again, this time at the Caesar Palace Cafe where we shot a breakfast meet between Claire and Nick. Ozbek and everyone at the cafe were so kind to us, as was everyone we met on the street. As is always the case in location shoots it always takes longer than you imagine, and why is that? One of the customer's in the cafe said, 'there is sure a lot of faffing about. No wonder it's so expensive'.
Later in the afternoon we shot the the continuation of this scene, where Claire spy's Nick waiting on the street for the bus. Now he was meant to leave her with as sense of mystery, which turns out to be a long wait for public transportation. She is disappointed that his act was nothing but a game so badly played.
Then finally the scene where they meet for the first time. This was Scene 26.
And we were done except for a nice dinner in the pub on the high street. We were missing a few shots, and Flora and I were certain we may end up re-shooting that final shot in Scene 42, but all a success. I dropped the film this morning and the lab should have it done tomorrow. And I met David and he passed his photos on to me already. So more to come.

Pre-production - Wanstead

Just a quick update to say that we are now preparing to shoot in Wanstead this coming Sunday and Monday. This part of the story revolves around Nick and his first meetings with Claire, and then when they break up. There are some interesting scenes here, as they set up the Norway sequence. In one we are even planning to move the camera!
On Friday evening we are shooting Scene 13 and Scene 14. These are the scenes we did for the test back in April, but were unsuccessful due to street noise and a problem with one of the mags (the mag created a nasty scratch on the far right of the negative). So we are re-shooting these scenes indoors on Friday evening.
More to come...

Norway IV - David's Photos

Finally I am uploading David's photos from Norway. These are just a sample, but you can divide them into photos of us working, production photos, and photos of the landscape.

All photos by David Boulogne.

Some of us caught working. I think he has flatter us with these, in black and white.














There is something almost primeval in the landscape in black and white, and this gives an almost epic quality to us working here.




















































































































To see this again from the outside, after the intensity of the experience of being so inside...















What we came for. A few scenes as David saw them.













Claire caught in the forest, as she explores in the dusk.













Claire in defeat: she runs into a couple in the wilderness but cannot face them. She hides.













Natalie arrives. She can tell: someone is here.













Claire and Natalie out for a stroll. But Claire won't allow Natalie to own this place. She marches on, leaving Natalie behind.













Claire wonders why Natalie has come to Norway: she listens in on her phone conversation and learns she is here for a liason with a married man.













Claire, now reconciled with her sister, and her past, making her way up the ridge. She has found an equilibrium.













The final scene, Claire working her way into the landscape. She has a part in it.


























She finds the top of the ridge and then works her way into the forest and disappears.

Now some of the location itself, without Claire or a film crew.
All these places exists with out Claire. Have their own life.