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...
Thursday, September 11, 2008
Thursday, August 28, 2008
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...
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...
Friday, August 22, 2008
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.
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.
Wednesday, August 13, 2008
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.
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.
Tuesday, August 05, 2008
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...
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...
Monday, July 28, 2008
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.
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.
Tuesday, July 15, 2008
Norway III
We had been lucky with the weather. Other than the rain the day we arrived, and a lot of wind the next evening it was generally quite warm, and the sky was mixed with clouds and sun. So my one main worry I had about shooting out of sequence, that there would of different weather as each story day progressed did not come to pass.
That was until the Friday morning when I awoke to hear the rain. Lu and I quickly rescheduled. We had a plan that in such a situation we would black out the cabin and shoot the evening scenes, but now that it was Friday we had shot most of those them. We also needed sun for some of the scenes we had planned to shoot that Friday, and the weather was forecast to be sunny and clear on Saturday. Our original plan was to shoot the travelling day on Saturday, when Claire travels to the cabin. Now it made sense to shoot all of these scenes in the rain. She would arrive on a gloomy and wet day, just like we did. And then the weather would change for her, like it did for us.
So it was out onto the boat, then into the car, with a minimal crew and out onto the highway we had come in on. Since our space was limited we could only take Flora, the actor, Roland for sound, and JC and Ania to deal with the camera. Lu had to stay at the cabin and fret. This day involved a number of sequences, Claire stopped in the car, reading some road signs, stopped at a bridge, watching the river passing by, then a man loading the boat. That had to be me, unfortunately, as we were quickly running out of crew members to put in the film.
Then a few sequences on the boat, of Claire seeing her destination come into view, and the spray off the bow. We left Flora at the cabin to finish a few other sequences in the car, where she was not required, her baggage rattling about on the floor of the car, then the landscape out of the car window. We drove onto the island we had called home, on a small, rough road. Ania and JC set themselves in the back of the car and I had thought to make this shot quite short, but every time I called cut JC and Ania would shout back, 'No! No! This is beautiful. We have to get this. '
By the time we had come to this scene the rain had stopped and the weather was clearing up. This was great as we were scheduled another scene with Katrine, on the deck, after they had come back from a day of hiking. The weather was meant to be clear, and by 4 that afternoon it was.
The oddest thing about this day was David leaving in the afternoon. He had some work on Saturday and we took him to the bus station on the highway as we didn't have the time to take him to the airport. He had such a part of the whole experience it seemed so odd that he wasn't there when we had finished.
We had more evening scenes to shoot Friday, the final scene between Claire and Natalie, and we waited a long time into the evening for the light to go down sufficiently. We needed to shoot out the windows.
There was still one sequence from that travelling day to shoot, when Claire goes into a Norwegian shop and buys some groceries. We had to do that on Saturday morning because Ronny had arranged with the Kiwi shop to do it then. As it turned out the manager there that morning had heard nothing about it, but he let us shoot anyway. I don't think that would've happened in London. So we had a little Norwegian flavour in this shop, Claire at a distance in this new place due to the language.
That Saturday morning it was also rather sad as Katrine and Ania both were leaving, like David both had work, Katrine in Britain, Ania in Poland. After such an intense experience it was hard to imagine not having all these people around when we finished on Saturday afternoon.
But we go on...this time to the beach where we made our second attempt to shoot the swimming sequence. It was beautiful day, and probably due to the tides, and the position of the beach the jellyfish kept their distance. It took a lot of convincing but I finally manged to get Flora into the cold water to complete the sequence. This is with myself up to my waist, and JC and Kendra, who now was in charge of the camera now that Ania had gone, in the water too, with the camera. It had to be to get the shot we wanted.
We finished the afternoon retaking some of the coda sequences, an idea of David's, to think about the same place at different times of the day. Then a return to the cabin to shoot the last of the evening scenes. This one I decided could be done without shooting out the window so that we could do by blacking out the windows.
And so we are ahead of schedule, which means we are free to do whatever we needed, and this had to be going out onto the trail near the cabin and trying to shoot again the final scene, 68, which I described earlier. JC was happier with the weather as there were large clouds which allowed us to play with chance, that in the middle of the scene the light would change. So I walk through the scene again with Flora, climbing up onto the rocks with her, up onto the ridge, through the trees, discussing what we want, how to change the pace, include humour, decisions, chance, an enjoyment at the physical exertion of climbing, the rough textures of the tree bark, the stone, the view from up there.
So we are all happy and Flora does it again. It is better than when we did it previously but it still didn't feel like we were finished. So one more time. And this time it is everything. Flora has captured it, she has I had imagined it, and for JC the clouds cooperate, and we move, 3/4 of the way through the sequence from cloud to sun, but gradually, so that after Flora has disappeared in the trees I don't yet call cut, but watch as the sun comes out and slowly glows on the leaves, and it goes on and on, and the sound of the place seems to increase too, and just when it seemed the scene should be over the roll in the camera was done, it ran out.
That was a wrap. Fantastic, so happy at how it all had gone. Only sad that not everyone was there to share it. We had the evening to think about what we had accomplished.
We had asked Anton to build a BBQ down near the shore, and they had gone into Risor earlier to try to buy some wine. And they came back in shock at the cost of alcohol in Norway. The government wine store was already shut so all they could buy was beer, and the £50 I had given them only bought them 18 tins of beer.
So we had sausage and burgers down on the rocks near the fjord. The weather could not have been better and the smoke seemed to keep the midges away so JC and Roland could relax. For me, with so little sleep and a few glasses of wine in me, I managed to fall asleep right down there, with a glass of wine on my stomach, snoring away, or so I'm told, on the rocks. There is even a photo as evidence.
There is a whole story about Sunday, sending off our first group to the airport, the rest of remaining behind to clean the cabin, then loading the car, Beth driving back, Lu, JC and Roland in the back, sleeping, me in the passenger seat, also sleeping. And then on the plane, all of us sleeping again, and then the cab back from Stansted, JC, Roland and I sharing a cab, caught in a traffic jam at 12pm, again sleeping through most of it. And we are done.
So some photos of everyone from JC. (I am going to save the last post of David's photos alone).
Ania
Anton
Azahara
Beth
Camera girls
David
Flora
Katrine
Katrine and Kendra
Kendra
Lu
Roland
It's a wrap. Flora and Roland at our BBQ the final day.
It's all too much. I can finally catch up on some sleep.
That was until the Friday morning when I awoke to hear the rain. Lu and I quickly rescheduled. We had a plan that in such a situation we would black out the cabin and shoot the evening scenes, but now that it was Friday we had shot most of those them. We also needed sun for some of the scenes we had planned to shoot that Friday, and the weather was forecast to be sunny and clear on Saturday. Our original plan was to shoot the travelling day on Saturday, when Claire travels to the cabin. Now it made sense to shoot all of these scenes in the rain. She would arrive on a gloomy and wet day, just like we did. And then the weather would change for her, like it did for us.
So it was out onto the boat, then into the car, with a minimal crew and out onto the highway we had come in on. Since our space was limited we could only take Flora, the actor, Roland for sound, and JC and Ania to deal with the camera. Lu had to stay at the cabin and fret. This day involved a number of sequences, Claire stopped in the car, reading some road signs, stopped at a bridge, watching the river passing by, then a man loading the boat. That had to be me, unfortunately, as we were quickly running out of crew members to put in the film.
Then a few sequences on the boat, of Claire seeing her destination come into view, and the spray off the bow. We left Flora at the cabin to finish a few other sequences in the car, where she was not required, her baggage rattling about on the floor of the car, then the landscape out of the car window. We drove onto the island we had called home, on a small, rough road. Ania and JC set themselves in the back of the car and I had thought to make this shot quite short, but every time I called cut JC and Ania would shout back, 'No! No! This is beautiful. We have to get this. '
By the time we had come to this scene the rain had stopped and the weather was clearing up. This was great as we were scheduled another scene with Katrine, on the deck, after they had come back from a day of hiking. The weather was meant to be clear, and by 4 that afternoon it was.
The oddest thing about this day was David leaving in the afternoon. He had some work on Saturday and we took him to the bus station on the highway as we didn't have the time to take him to the airport. He had such a part of the whole experience it seemed so odd that he wasn't there when we had finished.
We had more evening scenes to shoot Friday, the final scene between Claire and Natalie, and we waited a long time into the evening for the light to go down sufficiently. We needed to shoot out the windows.
There was still one sequence from that travelling day to shoot, when Claire goes into a Norwegian shop and buys some groceries. We had to do that on Saturday morning because Ronny had arranged with the Kiwi shop to do it then. As it turned out the manager there that morning had heard nothing about it, but he let us shoot anyway. I don't think that would've happened in London. So we had a little Norwegian flavour in this shop, Claire at a distance in this new place due to the language.
That Saturday morning it was also rather sad as Katrine and Ania both were leaving, like David both had work, Katrine in Britain, Ania in Poland. After such an intense experience it was hard to imagine not having all these people around when we finished on Saturday afternoon.
But we go on...this time to the beach where we made our second attempt to shoot the swimming sequence. It was beautiful day, and probably due to the tides, and the position of the beach the jellyfish kept their distance. It took a lot of convincing but I finally manged to get Flora into the cold water to complete the sequence. This is with myself up to my waist, and JC and Kendra, who now was in charge of the camera now that Ania had gone, in the water too, with the camera. It had to be to get the shot we wanted.
We finished the afternoon retaking some of the coda sequences, an idea of David's, to think about the same place at different times of the day. Then a return to the cabin to shoot the last of the evening scenes. This one I decided could be done without shooting out the window so that we could do by blacking out the windows.
And so we are ahead of schedule, which means we are free to do whatever we needed, and this had to be going out onto the trail near the cabin and trying to shoot again the final scene, 68, which I described earlier. JC was happier with the weather as there were large clouds which allowed us to play with chance, that in the middle of the scene the light would change. So I walk through the scene again with Flora, climbing up onto the rocks with her, up onto the ridge, through the trees, discussing what we want, how to change the pace, include humour, decisions, chance, an enjoyment at the physical exertion of climbing, the rough textures of the tree bark, the stone, the view from up there.
So we are all happy and Flora does it again. It is better than when we did it previously but it still didn't feel like we were finished. So one more time. And this time it is everything. Flora has captured it, she has I had imagined it, and for JC the clouds cooperate, and we move, 3/4 of the way through the sequence from cloud to sun, but gradually, so that after Flora has disappeared in the trees I don't yet call cut, but watch as the sun comes out and slowly glows on the leaves, and it goes on and on, and the sound of the place seems to increase too, and just when it seemed the scene should be over the roll in the camera was done, it ran out.
That was a wrap. Fantastic, so happy at how it all had gone. Only sad that not everyone was there to share it. We had the evening to think about what we had accomplished.
We had asked Anton to build a BBQ down near the shore, and they had gone into Risor earlier to try to buy some wine. And they came back in shock at the cost of alcohol in Norway. The government wine store was already shut so all they could buy was beer, and the £50 I had given them only bought them 18 tins of beer.
So we had sausage and burgers down on the rocks near the fjord. The weather could not have been better and the smoke seemed to keep the midges away so JC and Roland could relax. For me, with so little sleep and a few glasses of wine in me, I managed to fall asleep right down there, with a glass of wine on my stomach, snoring away, or so I'm told, on the rocks. There is even a photo as evidence.
There is a whole story about Sunday, sending off our first group to the airport, the rest of remaining behind to clean the cabin, then loading the car, Beth driving back, Lu, JC and Roland in the back, sleeping, me in the passenger seat, also sleeping. And then on the plane, all of us sleeping again, and then the cab back from Stansted, JC, Roland and I sharing a cab, caught in a traffic jam at 12pm, again sleeping through most of it. And we are done.
So some photos of everyone from JC. (I am going to save the last post of David's photos alone).
Ania
Anton
Azahara
Beth
Camera girls
David
Flora
Katrine
Katrine and Kendra
Kendra
Lu
Roland
It's a wrap. Flora and Roland at our BBQ the final day.
It's all too much. I can finally catch up on some sleep.
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