Our fourth day working with Heather May (our energy levels are all over the place at this point) involved lots of little intricate shots and moments during mini scenes. They were all moments which required a great deal of attention and care, as the tone is incredibly important as we near the end of the film with these scenes. The intricacy of these parts were mostly technically related, which can be incredibly frustrating. They are the kind of small adjustments which, when done right, can mean the difference between a good looking film and an amazing looking one. As I’ve mentioned before, we decided before the shoot that we’d take the extra time to make the film look as great as possible, it just really wears you down as the flow of the shoot (and consequently the scene) are disrupted because of these fiddly little moments.
We started in the bungalow corridor, which made for an interesting challenge; as a narrow space, four people, and a lens which forces you to be further from the cast than normal means you have to be creative about how you shoot (major hassle). The length of the corridor did however allow for a lot of great depth-related experimentation, and some very interesting shots (have I mentioned how good the film is looking?).
After the corridor was another technically tricky scene to deal with. Throughout the day we had to cover windows and light as if the scenes were at night as we were unable to shoot on location past 5pm/once the sun was down. The kitchen was a particular pain, as light was peaking in behind blinds (we got there in the end – making Tom stand outside with a giant piece of cardboard in the wind). Sound then became the other major issue (as always). Howling winds, cardboard flapping, and planes (AGAIN!!!) were the enemy of the day. We can’t seem to catch a break. Again this meant the flow of the scene was disrupted, but we still managed to crack on and get all we needed.
And then came the heaviest scene of the film – the last thing to shoot of the day. I find it’s always best to schedule these things last, as the actors don’t have to adjust themselves after a huge emotional outpouring (think ‘NARCISSIST’ was upsetting towards the end? Wait til you see this!). I’d like to congratulate Tom Bridger and Heather May for delivering the emotional heart/major punch-to-the-gut of the film (yet again). It’s nice to know you can rely on the actors you’ve chosen. It’s always a big risk to write a scene that’s as heavy as this and believe that it can be done. It’s always a huge leap of faith, but I’m yet to be let down by putting my faith in other people when it comes to these scenarios.