BUSY BUSY WEEKEND, BUSY BUSY WEEK

Went to London to D.O.P. Film maker Mark Kuczewski's Ready or Not, was a hard shoot, but was worth it. Will put pics from that soon, above is a still from Thursday Shoot at Wrynose Pass. More coming soon

SHOOT DAY TOMORROW

Well this is it, no more auditions, no more casting, and no more script writing, it's all about the film now, should be fun, as I have a talented crew behind, and a great location in front of me, we will see by this time tomorrow.

Anyways Until then, I say my goodbyes

When Two Days Became one

Some complications have come up, with actors and locations, and instead of having the two interior shoot days, we now have only the one, a bit disappointing, as I wanted both days to be well paced, and relaxed, as opposed to slightly rushed, but at least this way, we will be driven and ready, and that's always useful.

Thursday's shoot is coming up, I'm sort of scared but I blocked some shots today, and we should be okay, now just to sort out all the technicalities. So the 12th and the 24th are the shoot days now. Can't Wait.

Auditions In London PART DUEX

Sorry about the week off, has been a real hectic week

Had a full on day in London, 14 hours, 333 miles, great auditions, and no sleep.

Was a benefial day not only for myself, but also for my fellow film maker Tim Orchard, who had the lion's share of auditions, it was a fun day, and the Match Bar, with a special shout out for the manager Ryall Daniels, were a massive help on the day, well both days. And by the way, Match Bar is absolutely fantastic, a nice little chilled out place about a 2 minutes walk from Oxford Circus. I recommend them, the food is fantastic, the atmosphere is mature and laid back, and of course it's in Central London, so why not?

P.

Storyboarding. ABOUT TIME

Just starting on my overly ambitious storyboard, should be fun. Been putting it off because I want the script to be fairly final. But enough is enough, since the first shoot day is next week.

A bit off topic, but I just listened to a brilliant podcast will the the unbelievably great Willy Pfister, In my opinion the best D.O.P. out there, period. Some great insights to him and Mr Nolan's shooting/visual philosophy, and that there should be little grading because the negatives, or in my case, rushes should look like the release print, or in this case the final edit, colour-wise , at least. He made a lot fo great points about how the digital intermediates allows for too much falling back on post for grading. Obviously I don't have the luxury of putting up a million and one lights, or a 20k light with a color temperature filter, but it is probably the better philosophy to have. But until I have multi million pound/dollar budgets to deal with, I'm going to stick to filming fairly neutral and colouring to death.