“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.”…
There is definitely something alien about Benedict Cumberbatch. This was exaggerated the first time we properly met. He arrived late, he often is, but with the flurry of apology that he means utterly, and sounds faintly bored of having to give so frequently. He was wearing his crash helmet and wet weather biker’s jacket. It was a modern style so had the moulded Kevlar pads and bumps that shaped his body like an exoskeleton.
He is immediately intelligent. He’s on his front foot and yet asking questions. One instantly gets the impression there is no depth to any conversation he is not willing to plumb.
Over the long casting period we discussed with him many times, which of our four leads he could play. What makes him different from most of the actors we saw was of course that he can play so many different parts. Again it’s the hint of ‘shape-shifter’ that gilds his gifts.
At first I was loathe for him to play James (thinking he may play another role). I felt that having become well known for playing Stephen Hawking so brilliantly he would be perceived as some sort of a “rent-a-cripple”… But there was something I needed in James that so few people could portray. And of course Benedict understood it immediately, which is why he is one of the great actors of his generation.
James is a hero. We have to love him. We have to understand why the boys love him and will go to the extreme they do with him… But he’s also a bit of a pompous dick. I like to think this is what makes him believable. All these characters have flaws because we ALL do.
But it takes confidence and belief, total artistic commitment and an amazing lack of vanity for a young actor in his first real leading role to know that he can play this character on the edge of likability and get away with it. Of course Benedict does.
The ability to play these complications is another matter. He is of course just a brilliant actor. All the boys were. For me his most impressive ability, as I have said before, is to be technically brilliant, while all the while looking as though there is nothing but gut reaction going on. Watching him physically train to play James (He dieted, ran the cliffs and swam in the cold sea), and also delve into the meaning of every line in rehearsals, and then plot the effect of his illness on his body and mind as it would be in each scene (shot in the wrong order), while all the while being a joy to be around was impressive to witness. To see it as one performance in the final cut was remarkable.
He is rare even amongst the acting breed. If the character description says handsome: he is. If it says Nasty: he is. Older: he is… Younger: he is. For this reason I just can’t wait to see what he will become.
Working with him was a delight. I learned so much. It was so often easy to see what he was like at ten years old. He’s a giggler, and a brilliant mimic and, like the other boys, he thought nothing of carrying kit up the steps from Barafundle Bay, even after having been on camera all day.
When we cast him in Third Star, his role in Sherlock was yet to make him the global star he is now. This of course did so well for us in to one respect and yet his schedule, by the time we released, made it impossible for him to do enough press. Fame had swept him up. And yet, when we talk, I am really aware that he is enjoying it by revelling in the experience of the work far, far more than any of the perks of it.
One evening long after the shoot he called me to ask if he could come to my home to watch Have I Got News For You. “Sure. Why?”
“Because I’m hosting it?”
I sat and watched him watching himself. He was thrilled that he “got away with it”, that his suit looked nice; that his memory of people laughing at the right times, on and off script, were real. He was edgy throughout and so relieved when it was over. It was strange to see him so effected by it at first– but of course I realised he was having to be himself. Like the great chameleons of the stage and screen, having to decide on a version of himself to go on camera was a risky business for him.
I’m not sure to what extent that was a turning point, but throughout that period I really felt he had to adjust to life as Benedict Cumberbatch in some way – and he found his feet. Whatever personal doubts he had had, that were inaccurate, are far fewer now. Being really appreciated for what he does best has made him happier in his own skin… So he can spend the rest of his life enjoying wearing other peoples.
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.