Back from London again - spent the train journey attempting to get a bit further on with the shotlisting (which at the moment seems like a never-ending job), while trying to block out the drunk boy and girl who were sat on the seats opposite engaging in loud and repetitive flirtation for most of the journey.
Today we scouted the airport location - a field near where I grew up. It looks great, with giant lights and planes (at least today) screaming overhead. It was also populated by a herd of horses which I'm not sure we're going to be able to move - and which might then add another level of weirdness to what is already going to be quite a full-on scene.
Then this afternoon we did a camera test with Jonathan Bloom (D.P), Barry Squires (Focus Puller) and Owen Tooth (Camera Assistant and filmmaker). We're using a Sony 900 HD camera with the Pro 35 system, which is a little gadget that attaches to the camera and whirrs a disc behind the lens which is intended to give a 'film' effect. In the confines of the testing room, on the HD monitors it looked great, so I'm hoping that once we get on set and have all the art design and costume and make-up and actors it's all going to look fantastic as well. My only worry is that with the Pro 35 system and the lens and the matte box on, the camera is really long, and considering we've got to shoot a load of (sometimes really tight) interiors, I'm a bit concerned about being able to get the shots that I'm (hurriedly) coming up with. I guess it'll be all right - I just have to keep flexible. Yeah, that's right, it's not compromising it's being flexible..
ALLEY CAT (1984) - First thing's first! This review originally appeared on my Letterboxd, which I recently birthed (after ~14 months of labor). I don't know how often I'll us...
2 weeks ago