Spring Breakthrough

It has been a while. Not because nothing has been happening, but because too much has been happening. (I have a feeling I’ve said that before...)



Half of a capacity crowd, with four of the interviewees and 'TV presenter' Jenni to the fore, with Megan and Talia visible further back.

Two nights ago All Heart was screened for an audience of cast, crew and friends. I’m happy to say it went down extremely well; we had the inevitable cancellations and the obligatory technical problems (and some uninvited snow!), but the problems weren't disastrous and frankly if anyone else had turned up we’d have had to hang them from the ceiling. The room was rammed. After watching it with small test audiences (including my family who sometimes didn’t laugh because they weren't sure double-entendres about lesbian sexual practices were intentional...) it was gratifying to have 60+ people, enough to ensure that some of them would get each joke and prompt the others to enjoy.



The other half of the crowd; interviewee Lucy far left, musicians Luke and Joe red-eyed at the back.

We had, I admit, disappointingly few of the main cast, due to various hitches and glitches, but crucially the three leads were there, and were very pleased with how the film turned out. I also had compliments from several people I consider quite difficult to please. Which was nice.



Talia, Jess & Megan with an example of my prop-making...

So, a success. And I managed to relax for nearly a whole day afterwards – guilt at not working didn’t kick in until fairly late afternoon…

In the interim between this and the previous post, the film has acquired a Facebook page, and I’ve had a third attempt at a trailer, which still doesn't seem to quite encapsulate the film; I suspect starting right from scratch is the best approach.

So, what next? There are still some grading issues to try to resolve, and some minor tweaks to sound. The soundtrack from Luke and Joe was delivered just in time to slap it on the cut, but that needs a little adjustment, too.



Dunno why this guy doesn't sit down so we can get on with it...

A branch of Britain’s oldest cinema, The Duke of York’s Picturehouse, have expressed an interest in the film as a possible part of their proposed new night, Visions of Brighton, so we’ll see what develops there. There are festivals to consider; I might be able to get the whole thing done and dusted for the final Raindance deadline.

For now, I’m at least, oh...0.0001% more relaxed than I have been for a while. The process of editing has been a long one (unsurprisingly) and I have to admit a very lonely one. (That is of course partly my fault, as I could have involved others, but I really felt I wanted see what I could put together on my own before asking for feedback.) I missed the companionship of filming, and in particular my three leads, all so easy to work with – not to mention indispensable production assistant Sophie. On Wednesday night, awash in waves of goodwill, I felt rather less alone.



And a flashback to the beginning; Jess & Talia during our first visit to the main location.

Nine Days In July

'Some people are in charge of pens that shouldn't be in charge of brooms.' Graham Parker

And some people are in charge of cameras...

I know every creative industry today is about selling yourself, about persuading everyone (including yourself) that you have the greatest product since human beings started to dream...but I prefer to try to be honest. Which is no doubt one of the reasons I'm still doing things with no money.

Leading ladies in every sense: Jess, Talia and Megan

It is not hype, however, to say that I've been blessed with three gifts in the leading roles. Jess and Megan were not even part of this project three weeks ago, but in the last two weeks of intensive shooting they have been everything a producer/director could desire in terms of commitment and attention to detail. And Talia (quite apart from bringing Jess on board) has battled with the loss of her phone and her home internet and bouts of illness to complete the vital Gypsy scenes before Jess escapes to Dubai. And I would be most remiss not to mention Miranda, who injured her back quite seriously but still struggled up several flights of stairs to film some vital wide shots with Jess.

Miranda Morris as 'Emily' - accessories not the actress' own

A filmmaking friend, Dan Harding of 23 1/2 Films was adamant that a large project needed a producer. It wasn't that I thought he was wrong, but where would I find anyone who was able to give the time and energy that was required? So, I've done it all myself. And inevitably I've made mistakes, the most serious of which was a moment of tech-blindness that led to me mis-setting the mic for two days' worth of filming. I have yet to finally confirm whether the sound recordings are usable or whether I will have to resort to my personal bête noire, ADR. (I have never done it except for one carefully planned shot, and swore I never would). I made the same mistake weeks back but it was caught by another member of the crew, and in this case too I was put on the scent by Sophie, who insisted that the sound in her headphones was different. And I had so much on my mind that even after I checked the mic settings I didn't actually see the problem.

I've never had a fortnight like this. It will quite literally be a case of 'going back to work for a rest'. (And on that subject, it was pleasant to hear Megan saying today that her work has seemed decidedly uninviting compared to the time she's spent on set)

Braving the British summer - picture by Crystal Rodrigues

Of course there were times when we all wished we were elsewhere - dodging the rain and being buffetted by the wind in the Devil's Dyke area, for example. We may even have to reshoot a small portion of the film due to the conditions, and I have prepared a line about the British summer to cover the difference in the weath- oh, except that no one will require an explanation...

Lizzie Cornall ('Jill'). Could that be faint sunlight behind her? In July? Surely not!

A word, too, in praise of Sharon Salazar, actress and filmmaker, who became my ever first assistant director, organising the guests for the party scene and enabling me to concentrate on getting the shots I needed. This was on the same day we went out into the wilds, and I had two hours in the afternoon to recharge batteries (my own and the cameras') before launching into a crucial dialogue scene while Sharon and others created the necessary party atmosphere (photos to follow).

Sharon Salazar

We have done good work in the last fortnight, and have some lovely moments captured. It's too early to tell yet whether the whole film will hang together as it should (and of course with the right editing it may yet hang together as it shouldn't), but all the cast have a right to feel proud of themselves. There are continuity issues, and I take sole responsibility for those, with the small caveat that I never dreamed I would have to shoot so much in such a short time. I will know better, and plan better, next time.

Which is an encouraging thing to find myself thinking, because there have been too many times in the last month or so when I felt like giving up filmmaking altogether. If I am in a more optimistic place now, it is because of the support and dedication of others in helping me to realise this story - and collaboration is what this work is all about.

Talia, Jess, Megan, Sophie, Sharon, Miranda, Jenni, Hülya, Robert, Jo, Michael, Lana, Lizzie, Crystal, Gemma, Chloe (and not forgetting Caron when she gets to do a scene!) - thank you all.

Talia and Lana have not yet mastered the first lesson in Monty Python's 'How Not To Be Seen' (picture by Crystal)