Due - Production Blog #7 - Post Production

In the torrents of creativity we are busy like Beavers, forging dams of beauty. With our teeth.

With three quarters of "Architect" now shot and "Identity" due to go into production, ooh any day now. We take a reflective look once again at the storyboards for "Due" and how they compare to what we actually shot.

Deep heat is locked away in his dungeon creating all manner of weird and wonderful effects for the sound design. We've just been reviewing his blustery graveyard score and it is to coin a phrase. Badass.

More blogs from new productions coming soon...

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127 hours - with spoilers

I've decided to branch out of just writing about production updates for uni. I am now going to update with meaningless banter and my thoughts on films I have seen as well.

Lucky you.

So last night I went to see 127 hours. Most people in the audience were there to see the self amputation. Whilst I was intrigued with how they would approach the slicing of skin, as this is something I have to prepare for an upcoming shoot, I was more interested in how the film maker could maintain interest for 90 minutes using one set and the main character never moving more than half a metre from a big ass boulder.

Through a combination of flashbacks, hallucinations and emotional video messages for his family, I really was captivated. Had any other director other than Danny Boyle had control of the film, I imagine the film would have been far more sycophantic and downright cheesy. For instance his family hallucinations were tastefully done, his premonitions were unclear what was happening and his lowest ebbs (attempted suicide, last masturbation and first attempt to amputate) were equally as shocking and unsettling as the actual amputation. The amount of gore was spot on and cut well amongst flashbacks, showing only enough information to digest the procedure rather than be tortured by the whole process.

The ending, whilst everyone knew the outcome was also tastefully done. No need to see the reunification with worried family. Again not cheesy.

I may have to go back and watch Danny Boyle's other films again as I enjoyed this one immensely.

J however, spent half the movie with her fingers in her ears and eyes buried into my shoulder. Wuss. We should have only paid half price for her as she only saw half a film!

Fancy watching the Kings Speech next or the Black Swan. Mind you, Meadowhall cinema is well expensive so I might just wait for the DVD's

Peace

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The Architect is Dead - Production blog #2 - Script and Storyboards

With less than one week to go until we start shooting, we begin to get to the squeaky bumstage.

Where anything that can go wrong usually will.

As with all student/low budget films we are heavily relying on good faith and favours, so fingers crossed we don't overstay our welcome. Our apologies in advance if we do, we will give you a big cuddle to make up for it.

Kostas' scripts are notorious for redrafts and I am a little surprised that we are only up to draft 10 so far. Mind you the script on the shoot is more of a suggestion than a guideline, so expect some Sam Peckinpah totalitarian directing. This is of course a sincere compliment to Kostas.

Intro

Black and White

A cradle of a baby in a dark room

From a CCTV camera, we see a cradle of a baby in a dark room. The cradle is covered with a white sheet. There is blood on the sheet. We cannot see the baby but we listen to its cry.

Scene 4
Black and White
Worksite/ Night

The Architect does not look at the Security Man any more. He just moves his hand towards the guitar and the mutilated hand. He looks as if he has seen something more there. Close-up: A compass is stuck between the strings and the mutilated hand.

The Architect is Dead - Production blog #1 - Locations

Kostas Stragalinos. The Greek David Lynch. Obscure, Metaphorical and Allegorical.

His last film Invidia has already been screened in the London Greek film festival as well as the Showroom cinema. His latest script "The Architect is Dead" has landed and we are well into casting and location scouting. Scouting was hindered slightly by the inclement weather, we are on schedule to begin photography on 10th Jan 2011.

On this shoot, I will be recording sound and cursing the red rock. Our first location is the fire training centre in Sheffield. A truly disturbing place, which is a network of rooms, beds, charred mannequin dummies and crying baby sound effects.

Anyone have a good psychiatrist's number?

Also looking at locations at Sheffield Uni, Bradfield, Attercliffe and the High Peaks. We are truly becoming experts at moving crew and equipment with the most military of precision.

Perhaps I will timelapse the packing of the cars one day?

Due - Production Blog #6 - It's a wrap

Or at least a cheese and pickle sandwich eaten off the bonnet of a Hertz rental van parked in a lay-by in Skelmanthorpe.

Oh the glamour.

Seriously though. Principal photography has ended and, barring pick ups, time has been called on Due. Many thanks to Andy, Robin, Kelly, Simon and May for their superb acting skills. We covered around 250 miles between locations. Zubin and the Collector did it a la pied. Ther'll be some blisters in the morning.

The final scene we shot was actually part of the opening scene. We had planned to shoot this sequence first, but it was quite satisfying at the end of a three week shoot to see the Collector finally emerge from the shadows.

Due - Production Blog #5 - In Production

We are now officially halfway through the shoot for DUE. When i decided to give it all up and go back to uni, I was unsure if it was madness or genius. Havingspent 4 days in what can be described as the most inhumanly cold environment imaginable. Wading through the North Sea shoeless in November and gale like winds on the Yorkshire Moors, I still like it. I don't just like it, I love it.

The below storyboard/shoot comparisons are taken from the opening sequence again. As I have already made several posts about this, it seems apt to continue the development process for you. Very impressed with the look. Sergio Leone could not have done better himself.

Scene 1 - EXT. MOORLAND – DUSK

A panoramic shot of the moors. A speck moving across the landscape . It’s a man. (although it is probably difficult to see on the photo, June 14th 2011 for the Showroom premier in case you were wondering)

We move closer. MATURIN is running frantically. A gaunt looking man in his thirties. He’s wearing a shirt and trousers; completely unsuitable clothing. His legs and shoes are mud-splattered. His face is a mix of exhaustion and fear. We don’t see what he’s running from.

We have some gorgeous footage from the beach to put up in the next installment. I don't want to give too much away in terms of raw video though. Maybe after the finished film is done, I can do a rushes blog? Don't want to spoil any scenes for you before they are perfect.

l'adieu pour le moment mes amis

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Due - Production Blog #4 - Test Shoots

Many trips have been made along the A64 to Whitby/Robin Hood's Bay over the last 2 months. Many chips eaten at the Magpie cafe and many Crunchie floaters from Hippy Hippy Shakes. The final preparations took place today as we took the steadycam and walked the narrow cobbled streets, meticulously choreographing out routes for the "being followed" scene.

I'll hopefully upload some video trials next blog but for now here is Scott and Taj hard at it.