“We are such stuff
As dreams are made on; and our little life
Is rounded with a sleep.”
Prospero, William Shakespeare’s The Tempest
This is meant to be the last day of the shoot. The coast of Pembrokeshire is 250 miles west of us and I miss it already. We are at an industrial estate in Essex at a specialised diving tank trying to get the shots of what happens below the surface with Benedict Cumberbatch and JJ Feild. The tank is 7m deep (easily deep enough to drown a face-puller or two). It’s also surprisingly warm and VERY chlorinated. The little old guy that runs it is sort of an East End Jacques Cousteau – bobbing about the place helping our underwater Camera team. The first thing we do is try to match the colour of the water in the tank to the colour of the water in the sea off Barafundle Bay.
One cold blustery day, way back before the beginning of the shoot, our chief underwater cameraman came on a recce with us to Barafundle Bay. While I was counting the steps up the cliff with very little glee, he took a stroll with his DVcam. When we watched his footage later it was quite startling. The grey sky and grey surface of the water quiet suddenly switched to an almost fluorescent PEA GREEN as the lens dipped under the surface – it was hard to believe. This colour change was extant while filming the boys at sea, right through the shoot.
So here we are, back in the tank, and I’m watching as the divers pour in large cans of food colouring (used in the manufacture mushy peas and baked beans) in just the right amount, stirring it by swimming with their large flippers, to try and match the colour of the tank to picture on a monitor.
[This turns out to be a TOTAL waste of time. In the edit we discover that making the colours so real just didn’t look… well … REAL. Every time we cut to an underwater shot the difference in colour looked more like it was shot in a tank than the tank actually did in the first place. Luckily we use very little of the underwater footage and end up digitally greying the water to match it closer to the look of the surface. Inaccurate, but better. This is one of those great little lessons in filmmaking that I tuck away in my mind for the future.]
While Benedict and JJ get ready, we watch the assembled rushes of the scenes above the water in the Atlantic to try and match performance too. All our minds went back to those days shooting…
Sunday 27th September 2009
Today we’re going to get in boats, take our four stars out into the bay and film them as they try to give their best friend the ultimate gift they can. His freedom. Today we are going to drown Benedict Cumberbatch.
Usually the days I liked best are those where something else (like a stunt, or special effect) takes the pressure to be the ball-breaker out of my hands. But even though the divers will be in charge of how safe the boys are, and therefore what we can or can’t shoot and for how long, I have a knot in my stomach. This is my first film in charge and my stars are about to float around freely in the Atlantic Ocean. It’s cold. It’s bound to be time consuming. Too much can go wrong… And yet it is perhaps the most important sequence of the film.
So, with wetsuits under their costumes, and wearing flippers to make treading water easier, the boys (Adam Robertson, JJ Field, Benedict Cumberbatch and Tom Burke) head off. They look nervous for the first time.
The dive cameraman has told me that our actors will not be able to last more than fifteen minutes in the ocean before being plucked out to dry off and warm up. This is the Atlantic and we are nearly in October. Then they’ll then need at least an hour before they can go in again. We light a fire on the beach and have tents and soup and towels and clothes ready for this process revolving. But he also tells me that as the day goes on the fifteen minutes shooting-time will get shorter and shorter. When he thinks they are too cold he is pulling them out though. No argument.
This is why there is a knot in my stomach. Though there isn’t much dialogue, filming on and in water is incredibly difficult. Basically EVERYTHING is moving. All the normal stuff like changing a lens, even moving to another angle, just eats away at the time. Fifteen minutes can vanish in a blink – and suddenly the boys will be too cold and have to come out.
The boats are loaded and gun their engines to get around the headland into the deep water off Barafundle Bay. The sea is whipping up into the faces of the actors. I am wondering if we have bitten off more than we can chew. What if one can’t take it and the others can? What if one gets sick? What if we can’t get the right shots to tell the story anyway? This is the ending of the film? It’s possibly the end of my career. Why didn’t I write a film set in a car park? With their usual humour the boys take off their coats. Adam leads them – and jumps into the sea. They follow one by one.
Back in the tank in Essex we are looking at the rushes from that day, roughly assembled into the above surface drowning sequence. The shots really do speak for themselves. We’re all remembering that is really was a remarkable day. Treading water in that kind of cold, in the currents of sea, while concentrating on what they are trying to do was exhausting. And of course that exhaustion worked so well to convey the truth of what the characters had come through to get there. Even some of the hardened crew found it quite effecting to film.
[With all four boys still alive and kicking – I hope it’s ok to reveal that in fact they stayed in for longer than 15 minutes every time they got in the water. In one shot they stayed in the water for over 40 minutes. They never complained. They just wanted to get it done and get it done right. Though they lost quite a few pairs of flippers that I had to pay for… ]
Seeing them drag Benedict back to shore, forming the end tableau, the result of the journey was every bit as striking as I had hoped it would be.
The tank is a different challenge for JJ and Benedict. The temperature of the water being the biggest different of course. The tank has windows at the bottom so I can watch the boys as they take breaths from the diver’s aqualung to stay underwater as Miles (JJ) holds James (Benedict) until he gives up the fight for a life he no longer wants.
By the end of the day the chlorine has taken its toll on them. Their eyes are red and burning. They look like rabbits that have had makeup tested on them. After surviving the Atlantic without a mutter of discontent, they are now whimpering in agony.
With some time left on the clock though, we decide to capture some scenes of the boys swimming on the surface from beneath the water. Except we only have two of them. Luckily, we do have the costumes and the young, rather bemused, diving tank assistant agrees to don Davy’s outfit as a swimming double. We just need someone to be Bill.
It is fitting as a final addition to my CV of jobs on this film that it is me. I delight in telling the ‘making of’ camera that the waist on Adam’s trousers is way too roomy for me and I dive in. As I swim across the tank with Benedict and JJ I’m thrilled to be one of them for a moment. They are laughing and endlessly willing, but they really do look pretty fucked.
Finally it’s a WRAP. “Barafundle Bay” is in the can.
I will see the lads again of course, when we get in to the sound studio at the latest, with a finished cut of the film. But – there’s a whole lot of editing to do first. It’s an emotional farewell.
I get home at last. I have some beers. I feel empty.
Every film maker I know says that a schedule must include getting ill after a shoot, as the body is allowed to shut down. But, having become a challenge-junkie I decide not to give in to this and and go out and play rugby the next day. And break my collar bone.
Only after this does it all hit me. The morning after, I can’t get out of bed. I lie there letting the whole film wash over me. Dozing, I let myself drown in it all.
I get up at 2pm. At 2.30pm I realise that I have been upright for 30 minutes without people asking me questions, without the need for decisions – I seem to be in slow motion.
Perhaps it is just to do something, or perhaps it’s some weird subconscious metaphysical need to cleanse, but I decide that I should get the Land Rover cleaned. The mud and manure are not right for North London. I drive to the local car jet-wash place where the nice Greek bloke walks slowly around my vehicle with total astonishment.
“My God! Where you been?!”
“Wales. I’ve been in Wales. West… As far as you can go. ”
As I wait for him and FOUR other Greeks to find my car under the allotment on wheels, Kelly calls me.
“OK, the insurance claim came through for the damaged footage. We can re-shoot the beach scenes on Barafundle Bay. When do you want to do it?”
“Having ideas is like having chessmen moving forward; they may be beaten, but they may start a winning game” Johann Wolfgang von Goethe
Some people have asked “why Mug 7?”
In setting up Western Edge Pictures (and producing Third Star) I wanted us to be as environmentally friendly as possible. I have always hated the waste on film sets. I think we are a particularly wasteful industry, because of the speed at which we have to produce our product. One tiny way to do this, and try and make a difference, was to ban polystyrene cups. You may think it’s filmstock, light and electricity that make films, but I’m fairly sure it’s caffeine. Millions of cups a day – made one second before a cast or crewmember is called to do his duty and so disgarded, or else drunk out of sheer boredom, the cup tossed away, and a fresh one taken to replace it. In over a decade on sets I never saw a polystyrene cup refilled.
In the week before shooting I sent the runners out into the locality to buy 50 mugs from charity shops. I told them to buy a few base-white mugs in each one. Spread the word that a local had come back to make a film, WITHOUT the money that Harry Potter and Robin Hood had had to throw at every problem… maybe they’ll cut us some slack when we ask them to wait with a hoard of other walkers while Benedict, JJ, Tom and Adam trudge past a seemingly empty vista.
Back at our production office in Stackpole, the runners painted numbers on them all, so each crewmember could choose a lucky number, or shape, or picture they liked. We took photos of them to archive our lovely crew with ‘Mugshots’. One attempt at cutting our waste. And NO chance of our endless coffee cups blowing along the shore into baby dolphins… blow holes… anyway you get the picture. Did it work?
We were so rushed, so understaffed, and so busy. Caring for the mugs went by the way side. Most ended up in unit base (still loved – but not on set) and recycled paper cups found their way on to the shoot. BUT – heartbroken though I was – many of the crew took their mugs home with their crew t-shirts. I learned what I needed to do next time to make this work, AND I have so many more ideas of how to make our film making credibly friendlier for the planet, whichever bit of it we’re shooting in. We’d love to hear from anyone out there who has ideas to do that. If we can – we’ll try them.
So – Mug 7, was mine. The 7th is my birthday. And there’s a rather blurred photo of someone’s much loved Jack Russell on the other side. I love making films, but it IS hard, and you have to be a bit of a terrier to try and get things done RIGHT. You just have to stay focused.
“Can’t we just light the fuckers here? ” Miles
For nearly the whole shoot we have had the four guys together (as the script requires). This has been nice in one way – but early on we became aware of the problems of constantly shooting a ‘dinner party’ in terms of angles and coverage. On many occasions, with things happening so slowly, I wished the idiot writer, had foreseen this and written a few more scenes with just two guys talking…
Today however, we’re on Freshwater West and JJ Feild and Benedict Cumberbatch have a moment alone together. So, I go off with Adam Robertson and Tom Burke to film some stuff. Our second camera/B crew have been totally amazing throughout – great characters who created their own infectious team-spirit. As well as being the second camera for the scenes of the four stars, they have also captured so many great shots of the doubles enjoying the miraculously warm weather. (In fact earlier on they nicknamed themselves “28 Sunsets” as they set out in a 4×4 to capture the “magic hour” of every evening in the schedule.)
So we’ve run both cameras pretty much all day, every day. Our camera department budget, and most alarmingly our film stock budget, has doubled. With my producer-hat on I had to explain this to our financiers, but when they saw just some of those sunsets they seemed happy… No that’s a lie. Not happy. They just didn’t shut us down. “They seem happy! Let’s move on…” is just what I told anyone who asked about it.
Today I get to muck around a bit though, getting some stuff of Burke dropping little pebbles in a rock pool contemplatively – only to have Robertson drop a boulder into it from behind him. In doing his shock response Tom makes the most hilarious roaring noise – once again proving his comic genius.
These scenes are nearer the end than the beginning of the journey and over the next few days we will shoot some of the saddest, as the shoot draws towards a close. But tonight we film a firework display and the comedy of the camp catching fire. It’s a long night. The hours I spent in the script wondering how we will manage to shoot this mishap are about to be answered.
We are now well into October. The temperature drops. We huddle in the dunes as the last flocks of birds leave for sunnier climbs. Darkness descends and the props guys send a rocket down a wire into the tent, treated with fire retardant to make it burn slow enough to catch on camera. (It still goes up in seconds)
Then we shot the actual fireworks. JJ, Tom and Adam are brilliant fools on and off camera and, as he watches the ill-judged display above them (a section of the script I titled “My Firmament Falling Down” in a very early version) the look on Benedict’s face pretty much says it all…
By midnight it’s freezing and as we pack up for the day and hurry to warm cottages, I’m aware that the gracious welcome of this coast may be about to run out.
“It’s not your fault. It’s just really, really, really, really, really, really, really unlucky” The Beachcomber
Hugh Bonneville is here to help us do the impossible.
In the film James, Miles, Davy and Bill stop for coffee at a cove littered with flotsam and jetsam. Amongst it they are surprised to meet ‘The Beachchomber’. This eccentric man is one of the characters that make the trip something of an odyssey. He tells the boys a strange story about how he spends his days looking for a lost consignment of faulty, brown Darth Vader action figures. They were swept off a container ship nearby some years earlier and he believes this cove will eventually be the place that they are all washed ashore by the rolling tides. It’s a nod towards the part in so many of us that are searching for something that we may never find.
It’s been a favourite part of the story for most people who have been involved in the development. I love that The Beachcomber gets interpreted in so many different ways. It is meant to throw up questions about what makes life worthwhile. And it’s lovely that the Beachcomber instinctively sees the gentle kindness of Davy, having spent too many years alone with his thoughts, suddenly remembering the value of community, and friendship; in needing people, and in being needed… But OH MY GOD… this little episode is running at well over ten pages and we only have a day with Hugh to shoot it. I brace myself for a day of fighting to get things shooting faster than ever. (The bit of my job that I hate.)
It’s 6am. I’ve been running around a while already trying to sort out the day’s fresh load of compromise when I’m told that Hugh has asked to talk to me. Immediately I think something must have gone wrong. I know his hotel is nice and we haven’t forgotten his breakfast – he can’t have been here long enough for us to fail him in any other way surely? I look around the morning mayhem – maybe he has.
I knock on the door of the green room where he is changing and preparing.
I’m thrilled that he has taken time out to come do this roll. I have been a fan of Hugh for so long. He seems the most ‘natural’ sort of actor on stage and screen with a gift for gravitas and exquisite comic timing – and here he is – staring seriously at the pages of the script. He looks up with an equally stern expression and I am ready for the complaint, in fact I almost apologise involuntarily. Of course the complaint never comes. He breaks into a broad smile, assures me that he is comfortable, happy to be here and looking forward to hanging out with Benedict, JJ, Tom and Adam. Then his stern expression flicks on again and he tells me he wants to talk about the script.
“Oh!” I exclaim. Rather taken aback. I have sort of forgotten that’s my job as well.
I sit down opposite him as he launches in to a detailed question about the meaning of one of his early speeches. Only now do I notice that he is wearing alarmingly small, denim hotpants.
Thankfully the shock subsides when I realise these are half of his ludicrous costume. But I don’t have the time or inclination to over-examine this as Hugh rattles through the ten pages asking if he can move the odd line. Cut a bit here. Add a bit there… He even says that he remembers a line from an EARLIER DRAFT that had a phrase he thinks was important. He’s so right. It IS important. I tell him that he should put it back if he’d like to. A few minutes later, he’s done and I leave him pawing over the words. I walk down the stairs with a spring in my step. It lasted five minutes, but it was the an insight into the incredible talent, skill and knowledge of a REAL PRO. A no-nonsense, business-like, approach to the job of bringing the Beachchomer to life the very best way he knows how. I am so proud to have been the writer (and producer) that will benefit from it and it is again proof that actors are horribly underused in the development of films.
I am determined that any film that Western Edge Pictures makes will have this input from as early as possible and that the writer is always in the room to hear it. And we’ll make damn sure that this all happens long before the actor in question is wearing his denim hotpants.
I tell a runner to “take more tea to Mr. Bonneville straight away!” – she looks at me confused as it’s only been a few minutes since she did exactly that – I just want to give him SOMETHING – and it’s all we have. “And make it hot… or strong or something!”
A while later. We are on the rocky cove. Hugh looks hilarious but the women on set seem suitably pleased to gaze at him. His performance is breathtakingly good. He makes catchphrases of some the smallest lines – wistfully opening the door to the pain and confusion in the soul of this lost man with just the subtlest of gestures and intonation. It’s a masterclass.
But as ever I’m worried about the time. We cannot waste a second today. And Hugh is getting progressively colder and more uncomfortable as a light rain starts to fall and dampen his hotpants. Then something rather wonderful occurs to me. Today nature is on my side and in a way that couldn’t be more apt, she is on the side of our Beachcomber. We CAN’T run over time and it isn’t ME that has to hurry the proceedings at all today – because the tide is coming in.
I notice that the sea is now lapping at the feet of Moritz, our young lighting apprentice, who is holding a reflector at the edge of our ‘set’. He is Bavarian and made of too stout a stuff to even acknowledge it, but nevertheless the Atlantic has decided we should move on and it won’t take no for an answer. I sit back and watch Hugh. He must be tired, but doesn’t complain.
‘Time and tide wait for no man’ and at last we are done. Hugh is taken to meet a train. I won’t get to see quite how good his scene is for some weeks yet. His day on set seems like it’s been at least two.
At this point I’m told that we don’t have a night security guard and someone has to stay there all night to watch the vehicles, make sure the pig is roasting properly for the next day’s carnival scene, then turn on the kitchen truck at 3 am to power the freezers and heat everything in time for the crew’s breakfast. I sigh.
The last of the crew leave. I sit alone with a beer in one hand and my ‘Night Security Torch’ in the other. I sit on the bonnet of the Land Rover looking at the cove. The pig is rotating slowly on the spit – looking at me every 37 seconds as if to say “You think you’ve got problems!”, the seagulls are settling on the cliffs and the tide is starting its endless turn again.
Adam and I met while playing teenage school boys in a ‘Taggart’ feature – his first job out of drama school. I was the good guy, he was the bad guy… our roles in real life soon reversed. Adam is a moral compass. (You just have to know how to hit it when it gets stuck.)
After years of friendship, during which we had both made the mistakes in life that most of the people I find I like best seem to have similarly made, we went for a long walk. On our walk I told him I had been thinking that he should join me in a new kind of film and theatre company. By that time Adam was about to start running a vegetarian food business out of Borough Market with his lovely new wife Anna, but acting and producing had always called him away from the various other businesses and sensible jobs he had done so successfully.
A week later he’d read all the stuff I’d written so far and agreed that he wanted ‘in’ on the company, which we then named Western Edge Pictures. We sat on the South Bank and decided pretty quickly that we wouldn’t make a ‘short’, as so many industry insiders in the UK feel is necessary. We wanted to go straight to a feature.
“Any ideas?” he asked, as we watched the grey Thames oozing towards the sea in front of The National Theatre.
“Well, I have this idea about some boys on a camping trip in west Wales…”
One of the first things I did in writing the story was cast Adam in my head, as Bill.
Adam is a good man. He cares about people and the world equally. His goodness is infectious to most people, and hilarious to me. His goodness has a bluntness. A straight, heavy, indelicate absurdity that no matter how sincerely expressed – I just can’t take it seriously. (Of course my seat in Hell is already paid for, but recognising the humour in his finest quality is at least what makes the character of Bill so watchable in Third Star I think.) You can totally see in Adam’s role, even though their views are poles apart, exactly why the other boys – indeed why we ALL – would love to have a Bill in our lives – and why I need Adam Robertson in my own.
So, skip forward to pre-production. It becomes obvious that Third Star is going to be a bit ‘bigger’ than we first imagined and the producing is going to need both of us full time. Adam immediately stepped aside from acting. He didn’t NEED to be a movie star. The film was more important. But a strange thing happened. The more we auditioned guys, with Adam reading Bill for guys trying out to be James, Davy and Miles, the more obvious it became that no one – no matter how good – was going to replace him as Bill. It seems crazy now to imagine we wouldn’t have cast him.
(It also seems crazy to imagine that we would have made the film without Kelly Broad who we brought in at this point to replace Adam in production. Another lasting friendship and partnership was created there – but that’s for another day.)
Over the coming months the cast was solidified around Adam. And he was unwittingly still providing me with dialogue for the film.
“Biscuits… they’re great on their own – but dip them in tea – it’s a whole other journey.”
A direct quote from Adam in the office that he would repeat as Bill on camera a year later.
That’s not to say there is no divergence between the character and the man. The complications of real life are after all inevitably greater than those of any invention. Adam is also considerably brighter than Bill (no matter how well he hides it.)
He is sensitive and passionate and for all his confidence and bombastic Alsatian pup-exuberance, arriving on set threw him a little. After all our hard work on bringing our first Western Edge picture to production, exactly as we planned to, I noticed a rare uneasiness about him in the first few days. Eventually I was able to ask him how he was doing and he admitted to being a little in awe of what we had achieved, and a little humbled by the opportunity to shoot in that location, with such a great crew, and with such a heavyweight cast. I was amazed. No one could deserve it more. No one could understand how we had got there more clearly than he and I – but where I, thrilled though I was by all of it, had begun already to be frustrated by the small scale, his humility was touching. Where so many men about to star in a film would find their ego taking over – he experienced a fleeting moment of doubt in his otherwise sure-footed stride though life.
Within days of course he was well into the groove. He went up a gear in fact. There are still so many ‘Bill moments’ that make me laugh. And his delivery of the line “Why can’t you take an overdose like normal people?” that he so effortlessly imbues with the innate humour and the gut wrenching tragedy simultaneously, as only great actors can, is just one example of his huge talent.
Any actor will tell you that playing close to yourself is the hardest gig you’ll get. Adam had to get his version of Bill spot on and all the while receiving less care than I gave to the other cast. He triumphed.
We opened the film in his native Scotland, at the Edinburgh Festival. Adam had won one of the festival’s Trailblazer awards fro exciting newcomers and was determined to enjoy the experience “to the max”. I realised, in a rare moment of warmth, that seeing that big-hearted freak on the red carpet in his kilt was pretty much all the reward I needed for the journey he and I had shared. His joy was typically unfettered, uninhibited and honest. Somewhere between an overgrown Hobbit on his way to a rave, and a young Sean Connery – as if shouldering the mantle of being the next King of Scotland would be as easy as breathing.
Long live Adam Robertson.
“These are for thinking – these are for dancing.” Harry Sivell, most days…
We’ve moved from the coast to a farm/hotel, Giltar Grove, which is owned by old family friends. (I say that we’ve moved from the coast– we are in fact about 500 meters from the cliffs even now, but for a change not actually ON a cliff).
The Joseph’s have been custodians of Giltar Grove all my life. Old Joe Joseph had been a friend of my Dad. I think of my Dad, who died a few years ago, so often of course, but something about being back in Wales and specifically about being my own boss for the first time has made him all the more present in my mind. He was in PR, but would have made a good producer. A confident smile and an acute sense of the ridiculous are key skills for producing.
I used to come to Giltar Grove with him when Joe was alive too. We’d fill sacks of manure with Dad and then stay for drinks and cake in the house. And now, in my many hours of need on this film, Joe’s daughter, Sarah Diment and her husband have turned their home and grounds over to THIRD STAR and adopted me (and the loud and messy crew of 50 who follow me about at the moment.) The extended Joseph clan all live on the farm in various houses or in other farms in the hills around us. It’s special. They are special. And every time Sarah mentions my Dad I can’t help but think he’d be overjoyed that I was here with my circus and them.
The house is doubling as the home of James (Benedict Cumberbatch) and today we are shooting the opening scenes of the film where James is enjoying a birthday, his last, and the arrival of his companions for the coming adventure. The designers have a lot to do to make the party look real… come to think of it… where ARE the designers?
As Benedict relaxes in the sunshine, in his 40’s suit and wide brimmed hat, ready for the first shot, news reaches me that the set designers are sick and can’t work.
Most days this wouldn’t be too bad. They make sure we have the right cart and kit, and they make sure the campfires are lit and sustained, but the coastline does the rest… It’s not too ‘design heavy’. Today however is one of the two BIG set ups. Today they have to design a party and all its trappings. They have to bring a family home to life.
It’s not normal for crew to go sick. It’s not really possible. Everything is too specialised, too dependent on each crew-member being the cog of the rolling wheel that CANNOT stop. So crews are used to being hardy and carrying on. And the designers – the Campling brothers – are tough as old boots and so this is particularly unlucky.
Mild panic sets in. We are working too slowly as it is. I’m at a loss as to know how to fix this and now we have no set! I know we cannot stop, or slow down any more than we have…
As ever Kelly Broad (co-producer in this venture) laughs with me and then sets off to do what she needs to do. She rallies the runners to become the designers. Richard Campling appears from his deathbed to give some pointers and relevant info. I’ve never seen a man look so ill who wasn’t actually in the wing of a hospital where normal people shouldn’t go. To make things worse for him all the info’ he needs to impart is about what ‘party food’ they have a bought already or suggestions for what we should get. He visibly heaves with every mention of cocktail sausages.
We’re going to waste time, but there’s nothing else to do… And then, as Kelly sets about transforming the dining room I hear there is another problem.
James’s sister is played by the beautiful Nia Roberts, dressed by Welsh designers TOAST, and she is standing by, but her boring husband – from whose arms she has strayed in to the embrace of Miles (JJ Feild) is a no-show. It’s not a big role of course, but his appearance as part of the ‘normal’ happy family life is vital.
We cast our eye around the male members of the crew or any passing male from the Joseph clan… He’s got to be a bland, generic, banker type… All agree it should be me.
(I’d like to think this is based on my previous acting experience…)
So – a runner is dispatched to pick up new clothes for me. I run from beside the camera to the makeup department where I shave the producer’s stubble. My hair is given a side parting and I put on some glasses. With the help of the “smart casual” look I am suddenly “Mike… Banker”. It’s horrible.
Eventually the party has been thrown together and I find myself, after a long time away from it, ON CAMERA again.
The scene involves Bill being bored to tears by Mike at the party, with Davy looking on sympathetically. Then Miles arrives…
So we end up doing loooonnggg takes, WITH SOUND, where I am having to ad-lib to Bill (Adam Robertson) about nothing in particular but in character. Being as boring as possible, with only the odd prompt from him if I run out of steam. (While I do this I am aware that the party set design delay has eaten more time than Tom Burke has eaten prop food.)
Now- it’s also relevant to say here that Adam has been one of my best friends since we met as young actors, fresh from drama school. He was my first business partner in Western Edge Pictures and therefore we know each other pretty well.
Take One: I set off rambling about buying wine online. As we make eye contact I see the slightest tweak of a face muscle that denotes Adam’s attempts not to corpse – and I’m gone. We both break into raucous laughter and the camera has to be reset. (Time and film wasted by me.)
Take Two:… I ramble about wine buying and the internet and again Adam is grimacing, looking away from me as he tries not to laugh and again I crack…. and so on…
Take SIX: I feel the giggles coming first and take a sip of juice to try and control it. It works. But this gives Adam the chance to speak. (Adam is a huge talent but ad-libbing, I’m sure he’ll agree is not his strong point.) “And you also collect… shoes?”
I collapse. This time we’re laughing so hard we can’t remain on the chairs and Tom Burke is helpless also.
No-one is saying anything or complaining. I am of course ‘the boss’, (in fact there is apparently a crowd around the monitor) but I am all too aware that if this were not me I’d be getting fucking impatient and trying to get this moving faster.
As the takes roll by the agony increases…
TAKE TEN: Now I can’t look at Adam at all. I am focusing on a point on the table and just trying to speak as dully as possible, trying to actually listen to myself, but without fail I either hear Adam snort, or catch Tom’s face out of the corner of my eye and I’m gone again. It’s humiliating to be exposed as having a total lack of control!
By the afternoon we have moved to the scenes after the party and ‘boring Mike’ is blessedly consigned to history. I am back in work gear and myself again – and trying to get us shooting faster. There’s an Exec from our finance partner’s (Nigel Thomas from Matador) on set for a visit and he can see the problems we’re having getting this film shot on schedule. I’m so glad he wasn’t there for my ‘performance’.
In the evening I have dinner with him in the beautiful, ancient Plantagenet Restaurant in Tenby. Nigel is good fun, but tough. He’s a veteran of many films and talks me through my options. I have tried them all already. “Ah well, he says…”, calm and benign as ever. “You’ll finish the film on time.”
He smiles knowingly, remembering perhaps what it was like to be in my shoes once and glad that he is no longer there…“Yes.” He says. “ You just… will.”
I’ll be on set by 5 a.m. again, solving problems, but we order another drink. I realise there is a producer’s club, and I’m in it.
I think of my Dad again… He’d often tap his head and point to his feet and say “These are for thinking these are for dancing.”…
“My @thisisthirdstar DVD has shipped this morning. All is beautiful.” @linnetdust, Twitter
Third Star was the first film we made at Western Edge Pictures. It was my first time being on a film set where it was my name above the door. I loved it. For all the adventures it lead to…
There are LOTS more Third Star behind-the-scenes adventures with Tom, Benedict, JJ, Adam and my amazing crew, but there are also many interesting (screenwriter and producer) forrays cropping up, as I move on to the next films with my team. It’s time to mix in the current with the retrospective. So, just because the DVD is coming out, don’t think I’m leaving Barafundle Bay behind.
I love that this part of my career began with Third Star. The film was all heart from the beginning, sitting alone in my study, and continued to be both inspiring and gut wrenching as we trekked through raising the finance, on through production and right through the release. Sure, it was tough at times, but I also had the time of my life and made so many friends I will have forever. That’s the real joy of the film business I think.
I am posting a link to the ‘shooting script’ – ThirdStar_Script_Draft19. For those who are keen enough to inclined to read it, you’ll see there are some scenes in there that didn’t make the final cut. In some cases this is a shame, in others I’m so glad they never made it. But here it is warts and all. “The past is a foreign country…” I wrote differently there.
Anyway, I know there are some writers following this who may find that interesting. It’s draft 19 which, actually, wasn’t the last but it’s not too dissimilar from the first… long before Barafundle Bay became Third Star…
After getting its premiere as the closing Night Gala film of the Edinburgh International Film Festival in the summer of 2010, Third Star was released theatrically in London and Cardiff on May 20 2011. From that moment the strength of the passionate support that existed from the fans of the film seemed to take over. And we were astounded.
Due to fan demand it was held over at the Empire Leicester Square, then rolled out regionally in the UK and also played at over 40 screens – from NYC to New Orleans – in the USA as part of the “From Britain with Love” program. In many cases it was booked thanks to the fans who followed us via on Twitter and Facebook who lobbied their local cinemas to show the film.
Third Star is a small film about big ideas. We built it on a lightweight budget, but with ultimate faith in our heavyweight cast. The reward for our belief in the film and for the efforts it took to bring it to the screen was in the unprecedented demand from the ever-faithful fans.
I f you were one of them – Thank You. Thank you so much. I can say with all honesty that as a demographic, we soon found out that you are intelligent and actually really… nice. There’s no better word for it! We also learned quickly that you’re really knowledgeable about all the things we really like too…
We have been inspired by you – and releasing Third Star has lead us to develop a slate of projects we believe you will love, and also to find ways that you can be involved from as EARLY in the process as possible in making those films and bringing them to you.
We loved having you around – and we hope you will all come with us on our next adventures.
“Satan says to a film producer, ‘If you give me your eternal soul I’ll make sure you’re next film makes $200 million.’ The producer thinks about it and says ‘OK – what’s the catch?’ ”
I’m getting used to answering thousands of questions every day. Until today the first has been ‘Do you want coffee?’ No longer. The runners now know that I will have been on set since dawn. So the answer will be – YES!
We’re on the 4th day of the proper shoot and being the guy where the ‘buck stops’ for so many questions is what I am here for. But – an embarrassing problem is emerging. The crew keeps quoting scene numbers and I don’t automatically know what happens in 23, 69a, 42d…
I don’t know whether they expect me to know as a producer or just assume I know because I wrote it. But I don’t. I don’t like numbers that much. I’ve seen the script move around a bit of course and sometimes, to be honest, I have watched the actors rehearsing a scene and thought ‘Wow. I thought we’d cut that bit’.
Anyway. We are on the cliff above Barafundle Bay. The sun is shining beautifully as ever for the boys arrival at the bay. We aren’t allowed to close the beach, but it’s REALLY early on a Monday morning and the first coastal path walkers have been asked very politely to divert slightly or wait a short while so we can shoot the beach at its – remotest.
We have thrown caution to the wind and splashed out on a crane for the camera. It’s kind of a giant see-saw, to rise the camera smoothly above the boys and capture on film the virgin beach way beneath us.
The crane guy is here for one morning with his wife. I like him a lot. He has a neat goatee, tattoos and the look of a sporty Iron Maiden fan. He has a small, but immaculate A-Team van (always a sign of a great crewman). I naively I ask where the crane is.
As if by magic, much in the way that Marry Poppins unloaded a floor lamp from her carpet bag, a whole crane quickly and efficiently comes from the small van and in no time at all is ready to use.
Could it be that at last, something is going smoothly? Thanks to Dan-the-crane-man and his professional attitude the faffing is quashed and we are ready to shoot the deserted beach…
Then – I am called to the camera. Matt, the 1st AD, is rubbing his brow with exasperation again because, having masterminded the position of all his runners to block every path to the shore, we have now have just two members of the public who are refusing to move. I peer down at two small dots in the middle of the beach.
Apparently this has been going on for the whole set up of the crane and numerous members of the crew have tried to beg and plead and cajole to no avail. I am of course at the end of this line and the couple on the beach are now costing me thousands of pounds every minute.
I run down the steps that skirt cliff and across the soft sand. I sink to my knees, panting like a Labrador, beside a middle-aged couple in what look like matching jackets. The lady has some watercolour paints and a sketchpad at the ready, and the man has the facial expression of tax inspector with indigestion and haemorrhoids, who has just found out that his favourite Elaine Paige LP is scratched. Suffice to say I dislike him immediately.
Nevertheless I stick out my hand and smile cheesily and before I can speak he barks at me “Go away. You are harassing us!”
“That’s funny.” I say “You don’t look like you’re a rude person. When people smile at me and try to introduce themselves I have been brought up to be more polite.”
This is opening gambit is a gamble, but he begrudgingly shakes my hand. I tell him my name and that I’m in charge and he tells me his – let’s say it’s Harold Git for the sake of this.
He then complains for five minutes about the abuse he has received from my crew. The Git-hold up has now meant that about a hundred people are now happily watching us from various points. They are all delighted by the manners and sweet natures of my young Runners. That these Runners have all turned this off ONLY when dealing with Mr. And Mrs. Git is really unlikely (yet, I’m already seeing, understandable.) Mr. Git then explains that they have driven for an hour for Mrs. Git to paint her view and that’s exactly what they are going to do.
I ask if there is anyway way she could paint the view from elsewhere on the beach where they are not in shot.
NO. In fact he gives me a look that suggests I have just asked for something akin to asking Michael Angelo if he could use Artex on the ceiling of the Sistene Chapel instead.
I explain to Mr. Git that I need them to move for a short while, because we don’t have the budget to paint them out digitally, and so their stubborness will jeopardise a whole day’s filming.
I explain to Mr. Git that we are a small independent film and that losing this shot today will mean we can’t afford to reshoot; we won’t get the crane back; and will never catch up with the schedule.
I explain to Mr Git that we will donate some money to a charity of his choice if they would move twenty meters up the beach to sit beside a dune, which will hide them for five minutes!
For a moment I sit staring at Mr. Twat (Or was it Git?, I’m now changing to TWAT). He tells me to go away and stares at the sea. His tawdry wife’s MASTERPIECE is in its early stages, but I can already see that moving them will not be a great loss to the art world.
I can think of two options only.
One: I go up to the costume truck, put on Miles’ costume, tell Matt to roll camera, come back, drag Mr. Twat down to the sea and drown the bastard, possibly saving me time now and even money later on with divers and water tanks etc. This is preferable, but I imagine there is some film industry small print that precludes it.
Two: I had thought of something that was sure to make him move. Something that only a producer would understand I was capable of doing. (Something that only a producer could be proud of.) I was about to earn my wings…
Look. I’m so sorry, but as anti-climactic as it is, I just can’t write here what it was that I actually said. But, as the sun beat down, with all the crew and members of the public now watching this little scene from so far away… I told the Twats something that made them agree to move for five minutes.
I ran back up the beach, up the endless stone steps off the cliff. The crane drifted the camera up above the boy’s heads to show the wonder and splendour and majesty of their final destination. It really is beautiful.
And I’m going to hell.
In writing these pieces up I realised I wouldn’t really give time to the digressions I would like to… I love a good digression, the possibly reasonless meandering of the mind that one is forced to follow in the hope that maybe, just maybe… anyway.
I have wanted to give time to each of the leads in Third Star. A profile piece if you will. I was never on a set before where the work ethic of the crew was so inspired by the dedication of the actors. They can be regarded as mollycoddled talking props. Not so on our set! They never moaned or complained and they never lost concentration nor – and this crucial – did they ever lose their good humour or willingness to muck in. So I’m going to do the four the boys one by one – starting with JJ Feild.
I first met JJ back way back in time – when Snickers were called Marathons, when we all believed that the appeal of Take That would never last… and when I plied my trade as an actor too.
We waiting outside a room for a job than neither of us got. This was unusual because it certainly seemed to me that he got most of the jobs we were both considered for.
JJ’s had an interesting upbringing, (his father is the British mystic and author Reshad Feild), and he went on to a ‘normal’ acting training at Weber Douglas. He’s one of those guys who doesn’t seem terribly out of place anywhere or with anyone. He’s obviously creative and can turn his hand to any sport. Interestingly he’s very political – (though I would always try to avoid these debates as Adam would always get involved and bating him amuses me too much and I didn’t have time.)
He possesses an old-school charm that is incredibly rare amongst the actors of his generation. The mixture of a calm and classic style with the unquenchable hint of rogue. He is in many ways a blond, very British, Clark Gable.
His laugh is raucous and he can’t help but clown around. Usually on our set this involved his humping one of the other boy’s legs as soon as the opportunity arose. He’s committed and incredibly knowledgeable about the way films are actually made, and never gave up fighting for the best shots and the best takes. Even when off camera his back was so badly injured he could hardly stand, he still carried Benedict up those rocky paths to Barafundle Bay again and again.
Of all his earlier roles I think the first that showed me what a really great actor he is was his performance in Pride at The Royal Court opposite Bertie Carvel. As one of the characters he played in Pride (a repressed homosexual) he had to portray burning self loathing with the facade of character who has found life, seemingly, all too easy – though all the while struggling with his true identity. In other words – he mastered the art of playing dark depths with a subtle lightness that the audience gradually became aware would eventually break with a cataclysmic bang. It was gripping for that.
His lightness is of course not easily played. It drives me mad that so often the good-looking lead is ignored when the ‘Rain Man’ character is awarded gongs for (forgive me for quoting Tropic Thunder) “100% retard…”
That these roles are more difficult is a phallacy. JJ IS charming and likeable, but of course being so close to versions of oneself and still being thoroughly entertaining and believable is much harder than ’doing a funny voice’.
As Miles JJ was the perfect choice for all the reasons above.
Miles is competitive and successful. He is a man who has the world at his feet and yet is terrified of all his well hidden failings. His fear is quite literally fear itself. He avoids facing the inner truths by being brutally honest externally with those around him. This makes him arrogant most of the time as it requires the apparent self belief of one who doesn’t bat an eyelid when hurting anyone’s feelings. We should feel is even capable of savagery when this willingness to confront the truths outside him requires it. He is in short – the one you want beside you in a fight, but don’t expect gentle counselling afterward.
JJ understood this instinctively. He could of course carry off the rogueishness with aplomb – but I think he found the ability to KEEP being heartless, KEEP being cowardly in the face of James’ plight, the hardest challenge. Of course in the end of the film we understand it all. It’s remarkably simple. “I’m scared.” is all he really has to say… But the bravery of this collapse, for a man who has created himself as the one you can rely on in your darkest, darkest hour – is chilling and beautiful. And all thanks to something all actors say – but few can actually carry off… “Do it in a look.”
I am so lucky to have been able to spend time working with him in rehearsal and of course on set. And our friendship will, I hope carry us through many future films. His latest outing as Union Jack in Captain America is likely to give him a greater global film profile, but I will always be thrilled that he took the long walk in Wales with us.
Miles (JJ Feild): “Well, you really showed that tree.”
It’s another sunny afternoon. Tom, Benedict, JJ and Adam are lying on the grassy cliff top above me for a scene where Adam (as Bill) hurls the tree that he has lovingly carried throughout the trip, over the edge into the sea.
Some 12 feet below where they are acting is a ledge, a small ‘golf green’ of grass sloping towards the drop. This is where I am standing with Tom Rogers our lovely assistant location Manager (known as T’other because his boss is called Tom as well.) Our job here this afternoon, out of sight of the camera, is to catch the tree before it descends into the rolling Atlantic.
The night before filming (because somehow they had been forgotten) we actually bought four trees that are identical. Any biologist will tell you that this last statement is impossible, but they similar enough. The problem is that they were expensive and they are already taking a battering in the natural course of filming for three days.
It’s important that Adam throws the tree, which he swings like an Olympic hammer thrower, with all the pent up anger of a man who sees the freedoms of his younger life slipping away. So we don’t want to be too constrictive in urging him to aim for a safe landing.
It’s an emotional scene and as usual we are pushed for time. The first effort lands easily near us. The second seems to be heading out of reach, but drops short on the rocks above us. The next few takes don’t get as far as the throw and T’other and I get lulled into a sense of false security.
While I wait patiently for the slight adjustments in performance, new lenses, and film reloads I fiddle with my phone as if doing so will make it find a signal (I know it won’t). So I stand there and again I am aware that for the five weeks of filming this – cliff path above the sparking sea – is my office.
ACTION! There’s the emotional rant from Adam and – knowing that every take may be his last chance – he gives this throw some serious welly. Suddenly there is a tree sailing through the air over me and towards the edge. Without really thinking about the consequences of losing the tree verses losing the tree AND me, I run after it. Its plastic covered root-bag hits the glossy grass and it shoots towards the edge. I dive for it and tackle it a couple of feet before it goes over. Only T’other has witnessed this foolishness I think, and I’m rather glad. (Even though I’m comfortable with the “Don’t do as I do – do as I say” school of producing.) My daily safety concerns for the crew should also apply to me. BUT only my co-producer Kelly Broad really understands the constraints of our budget as I do, and I realise that, though she may have done it in heels with far more style and grace, she would probably have gone after that tree too.
Grazed but in tact I return the tree to the film’s designers (the brothers Campling). The tree has been injured and as we set up for another scene I see that Johnny Campling is super gluing fallen leaves on to the tree’s wounded twigs. The magic of cinema.
J.M. Barrie’s 1904 play “…and straight on till morning for many days.”
In the course of the current roll out of THIRD STAR I’m doing lots of Q and A’s around the UK. I really like it. (I like Q’s and I like A’s – what’s not to like?) The people who come to take part are, of course, film fans and so I have something in common with them already. On top of that – talking about the journey of this film with strangers, while I’m not one for counselling, is in some way cathartic.
One of the most asked questions though, is why the title or why the title had to change?
For a long time the film had the title “Barafundle Bay”… anyone who’s seen the film will be able to work out why (unless they’re dumber than the leader of the RMT). If you haven’t it’s because that is the (real-life) place that Benedict’s character wants to see one last time with his best mates. It started as a working title and stuck.
Film investors want to know in advance that a professional who sells films – a ‘Sales Agent’- thinks it ‘might’ make its money back. Our Sales Agent came on board very early and told me that the title had to change. This didn’t bother me too much. I had always hoped that in a very wordy film a line or phrase would leap out me. It never did.
Jump ahead three years and sure enough I have spent the entire time having to spell out the title to EVERYONE who we meet, phone, cast, and employ. For some reason people take a long time to get it even though it’s phonetic.
Before I know it the shoot is over, the edit is drawing to a close and I still don’t have a title. We’re rapidly approaching picture-lock, the grade and our title designer needs to know what the film is called.
At this point of course there isn’t just me, hiding in my study. All the parties who have joined the film are giving their opinion and we are now naming the film by committee! Some of the suggestions are so bad that I am ready to take my name off the film… “Forever Loved” was an all time low.
Eventually, as I was actually researching something else, I saw an old illustration from Peter Pan and thought that Peter’s instructions on how to get to Neverland might work. I like the fact that James would misquote things – hence Third star instead of Second – giving Miles the opportunity to say “Fuck. No wonder we’re lost.”
In J.M. Barrie’s original tale (in the 1904 plays), Peter led Wendy and her brothers to Neverland by flying ‘second to the right, and straight on till morning for many days’, though it is stated in the novel (written later in 1911) that Peter made up these directions on the spot to impress Wendy, (This in fact struck me a very James thing to do.) Wendy and Peter then find the island only because it was out looking for them. (the genius of Barrie.)
In the 1953 Disney film, Peter Pan, the word ‘star’ is added to the directions Peter speaks: ‘second star to the right, and straight on till morning.’ That phrase is widely quoted, and was used again in the 1991 movie Hook. But the less said about Hook in a film blog the better.
The title THIRD STAR had arrived and was quickly signed off. The link to Peter Pan is inalienably British and subtly enforces the idea that these are Lost Boys and that in a way, James never will grow up.
I liked it, but I didn’t love it. The two words in isolation made it a bit tougher and more ‘boysy’ – which was good. And the aim of a title that would travel all over the world was achieved – but it took a brilliant bit of design to bring it to life. Franki Goodwin, who designed the poster and titles, picked the perfect typeface but crucially added the simplest four pointed star as the dot of the ‘i’ and suddenly it felt like ‘our film’ again.
The link to the stars, and fate, and travel had long inspired this film and now we’d come full circle. So, that’s the ‘A’ in more detail than I can usually give to the ‘Q’…
But here’s some other stuff I found out as some nice wider reading.
Did you know:
The third brightest star in the sky is Rigil Kentaurus, otherwise known as Alpha Centauri, which literally means foot of the centaur.
It’s also known as Rigil Kent, Toliman, HR 5459 or the even catchier, HD 129620… (Anyone looking for unusual baby names may want to add that last one to the list.)
If you’d like to take a look, here’s where it is… Right Ascension: 14 39 35.9 – Declination: -60 50 07 (Yep… right there.)
Although its ‘Apparent Magnitude is -0.27’ its ‘Absolute Magnitude 4.4’ (Hey – we all look different in the mirror.)
This beautiful astral body boasts the Spectral Type: G2V (…I KNOW!!!!!)
But our THIRD STAR… is also sometimes known as Proxima Centauri.
Why? Because it’s the closest to us.
Yes. At a mere 4.3 light years… (not the brightest star – not the second brightest – but the third brightest star)… the THIRD STAR is the closest.
Take a look tonight. Raise a glass even, as many a traveller has since before we knew quite how we all hung together in this big bright universe. Good on you Alpha Centauri.
“One day, in a week, a month, a year, on that day when God willing, we all return to our homes again, you’re going to feel very proud of what you have achieved here in the face of great adversity.”
The sun is baking. I thought my problem would be keeping the poorly paid crew with me in the rain and mud… so I budgeted for beer at night. I never budgeted for the bottled water and sun screen we would need in West Wales in mid September… (it can’t last can it?) But James’ lines about going to the his “favourite place on earth – to Barafundle Bay” make more sense when it looks like this – and today is our first day shooting on the actual beach.
Some of the crew haven’t seen the beach that at the moment gives the film its title and they are all suitably awestuck by its beauty… This joy lasts a few moments only as they soon realise that we have to carry ALL our kit down the steep steps to the sand. It’s the only way down there. And we have to carry it up again everyday we’re here.
I grab some sand bags that are used as weights for the camera legs and lighting stands and even on my first trip down the cliff I realise what a physical task this film is going to be – and how fucking mental it seems to be carrying sandbags onto a beach.
Eventually we get everything down on to the shoreline and start shooting. The scene involves Adam’s character trying to comfort James, who has had a rough night. Jo Evans’ make-up is great Benedict looks really, really ill. We roll camera… there is something almost ethereal about Benedict sometimes. And as he lies in Adam’s arms near the high water mark, it’s obvious that there are going to be some very special moments in this very special cove.
It’s just as well… having had the best of the early light we have to move all the gear to the top again for the next scenes in the schedule.
The steps are steeper and longer when you’re going up… as I get to the top for the first time I look down and I can see that the crew are all mucking-in, carrying not just their stuff, but whatever needs to be taken from any other department. Benedict, JJ, Tom and Adam are amongst them carrying gear as well. This is the team spirit I always hoped for and it’s the only way we will get this film made.
I head down the steps again. Every crew member I pass has a good natured jibe at me. From the fitter members of the crew I get stuff along the lines of “Couldn’t you write about a beach with a fucking car park?!” from the rest – this physical challenge is now hitting home. They just about manage to grunt swear words at me. It takes several trips for most of us to get all the kit back to the trucks on the cliff top.
I daren’t think about how many times we will have to do this… I think of The River Kwai and start whistling.
“DAVY: If the cart breaks…”
On a cliff top. (The novelty has yet to wear off – but then the sun is still shining.)
The First AD and I are worried by the pace we shooting. I’d like to be cracking the whip here, but even though there isn’t much dialogue in this scene I am very aware that this little moment could be one of the most important in the film.
If they scratch my car I’ll be livid.
Adam who plays Bill (and has been one of my best friend’s for years) has suggested taping a DV cam to the Cart too. (This is one of his good ideas.)
The shot is still being prepared… The coast path here looks perfect. It strikes us that it looks too perfect! In fact it looks like the fucking 6th fairway at St Andrews! The grass is smooth and even and green. Uniformly trimmed by the fierce hand of mother-nature into this perfect lawn that stretches a hundred miles. I hope we have enough wilderness shots ahead of us to give the film texture.
I think there’s something funny about our paramedic. Firstly his ambulance is a rusty banger with the word ‘Ambulance’ stuck on the side. Secondly his med-kit box looks like he sometimes keeps live fishing bait in it and has done for thirty years. Still – he comes from an official data base and seems a nice chap so I pay it no heed…
Just as the Ist AD is getting we are ready.
It’s a scene where ALL the boys climb on James’ the cart and ride it down a hill. It seems a meaningless little stunt, but if it looks like I hoped it would when I sat alone writing the script, it will be an instantly recognisable image of freedom and ‘boyhood’ and friendship.
We’ve tested the speed and route for the descent. Benedict must steer the unstable three-wheeled cart with Adam hanging on the back, JJ on one side, and Tom Burke on the other. It’s liable to be very bumpy and fast and near the cliff edge…. but the stuntman is happy and therefore so am I. And the minutes tick by and I’m more concerned about time now than ever… (If we drop a scene we may never get it back.)All cameras are ready including, Jamie Stoker’s stills camera. Matt the 1st the first calls ACTION.
The cart rolls forwards the boys jump on… it slowly gathers pace and jolts down the hill along the cliff edge faster and faster…
It looks amazing. Adam roars with delight! They look they’re having the time of their lives. They are.
The shot is in the can. And it’s good, but there isn’t time to enjoy it. We move on…
(Little did I know at that moment that it would become one of the iconic shots of the film and that one of Jamie’s snaps would be used by designer Franki Goodwin to create the poster…)
“LUNDY : South westerly – calm. Fair to good and falling. Squalls later.”
My alarm goes at 4am.
I haven’t slept much… but then I haven’t slept much in days.
I get my work boots on and get in the Land Rover. As I drive to the unit base on the National Trust’s Stackpole Estate, I am kept awake by a desire to avoid smearing the myriad of wildlife that use the road as their own at this time in the morning. (I have no grievance against them and I have to drive the actors in this car later. I fear the cull-splatter may disturb the thespianic preparation.) I am listening to the shipping forecast on the radio. For the first time ever I have a really good reason to want to know how the weather on this particular area of our waters – the patch of the Atlantic off the Pembrokeshire coast known to seafarers as Lundy – will effect my day.
For the first time I am about to have my own crew making ‘a real movie’. It’s exciting. But I can’t help but also think about all the millions of things that could easily go wrong between now and the end of the shoot in five weeks time… if we get there at all.
The schedule and budget are tighter than my amazing set photographer’s skinny jeans…. I wonder, if we do derail, what it will be that finally ends the ride.
I haven’t even started yet and I know already that at least two key members of the crew are camped on the boarders of insanity – primed to invade that land of lunacy if there is the slightest increase in pressure… and pressure is the one thing I have in abundance for both…
But then as I pull up at the old farm Manor House I see the giant Kitchen truck. We are a small film compared to Nottingham and Harry Potter that have both filmed in Pembrokeshire this summer and yet somehow we’ve managed to afford a catering truck that may have room for Knight Rider in the back, as well as the kitchen. It glows and steams in the dawn light and excitement swells like a wave inside me. I smell the bacon and the coffee that will fuel the nearly fifty crew.
I greet the location manager who arrives seconds later, and then my partner in production, Kelly Broad who looks like she’s arrived for London Fashion week. As the rest of them rock up I greet them with overly gung-ho slaps of encouragement. Knowing that I haven’t even closed the finance on the film that I am now DEFINITELY shooting, I wonder if one of the crazy people is me. In fact maybe no one would try what we are about to do if they aren’t a few rashers short of a fry up. Its sobering…
But – here’s the thing… This is the last moment I have time to consider it.
Before I know it the four actors, Benedict Cumberbatch, JJ Feild, Tom Burke and Adam Robertson are in costume and we’re heading to the first shot… The boys are loading the cart that will carry Benedict’s character, James, on his journey to Barafundle Bay… and already I’m putting out fires… Telling the designers to find more kit to weigh down the cart (it’s a problem because we need it all duplicated for the second unit version of the cart that will be filmed with doubles). I’m also cutting lines from the script, still trying to shrink the scenes… And we’re choosing the tree Bill will carry and we’re wondering if we actually have permission to use the local cows as background artists… and onwards…
And in the blink of an eye… with some disasters narrowly averted we’re on the last shot of the day. Literally as quick as that! With the sun setting behind the headland to the west I tell a white lie to the director about a bi-law (I just invented) that prevents Adam Robertson from strolling naked as the script dictates, in the area we had chosen for the shot initially (which is now too far away). We swing the camera round and shoot in a hurry and with failing light that does wonders to shield his manhood, Adam strides naked across the hillside in front of two extras… (played by an old teacher of mine from the school I had attended just down the road)… And suddenly we wrap Day 1.
And we’re ferrying the crew back to unit base for a cold beer and to give them the call sheet for day 2. Matt Hanson, the 1st Ad, slaps me on the back. I’m exhausted… We all are, but I can’t show it. It was amazing and hilarious and fun and terrifying…
The boys did the magic trick that only great actors know how to do. They have conveyed the freedom of the trip they’re on – alongside the love and antagonisms of real friendship in just a few moments of film passing behind a lens. We have one day in the can and they look like they’ve been pushing Benedict in that fucking cart forever already.
I check the last shoot site for rubbish (we will leave everywhere we go on this breathtaking landscape untouched) and head back to unit base…
Along the farm track I pass a farm worker bringing the cows in. I stop to wait for them to pass and he nods and says “Well, you had a nice day for it, boy! “
I nod and drive on and remember how my day started “Calm. Fair to good and falling. Squalls later.…”. And I realise I don’t have enough time to sleep before tomorrow.