Still I did manage to catch the sun going down. It was a beautiful day, sunny, but with a little mist and fog leftover from the morning. This was actually better than the clear conditions I had several weeks ago. I imagine Paul waking to see a little mist over London.
But I was really looking for a location for scene 50, where Claire runs after Nick into the park. She has dismissed him, realising that they have been both deluding themselves. But when he is gone she has a relapse. Was this real? She goes after him.
I had early posted some images of a place where two paths cross, but I was not happy with this location. One of the trails ascends quickly. She really needs to be looking down when she looks for him. Why not turn the camera the other way? It seems obvious, but there are a set of trees at the bottom of the crossing so she would really be able to see anything. Not what is required. So Sunday I was looking for another location.
I found another hill on which a trail ascends and there is clear vantage point.
There is no crossing on this hill, but I realised this is for the best: the crossing image has the potential to be read as some sort of symbol (she is at a crossroads, blah blah), something I am desperate to avoid.
So I went up the hill.
There is a the clear line of the path below and the rest of the hill.
I liked the mix of hills, and banks of trees that create a series of background and foreground images.
To her right were a stand of trees with a flock of black birds nesting at the top. I assumed they were crows.
They created a Hitchcock quality to the scene - inappropriate for my film, but it added to the fun of the afternoon.
From the vantage point in the park she should be able to see him. But he has disappeared.
She wants to accept defeat. Near the path is a tree, and she comes onto the grass and collapses. Surrenders.
She scans the sky for some relief, but there is none. A nothing.
Then the iconic moment.
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