In this lull, I've had the time to get the rest of the images of the shoot off my phone. They're all a bit random (I didn't really have time to fully photo-document the whole thing) but they give a bit of the feel of the making of the film. So, in the entirely random order that Blogger has decided to upload these images...
This is my comically distorted face through a magnifying glass (kind of like those you find in a dentist's surgery) which I found in a deserted room when we were shooting at the University of Nottingham building - formerly Carlton TV. The only other things in the room were giant piles of empty plastic water cooler bottles. What can I say? It was a night shoot, at the end of the shoot, and you take your amusement where you can find it.
A view of the field from the relative comfort of the temporary shelter we had erected in the field. This was the view my parents would have had of events - the only thing missing is me galumphing across the piles of horseshit towards the sun-baked cast and crew to impart another nugger of directorial wisdom like 'that was great, but can you do it again with less hopping.'
This is actually a bit wierd. I found this amongst the props in the cellar set. It's a guide to making cocktails and the reason it's strange is because my Mum and Dad had the exact same book in their house when i was growing up and it really intrigued me. (We had a bar in the living-room - hey, it was the Seventies, everyone had one - and it was kept behind there in amongst the optics.) Seeing it in this setting gave me a bit of a weird feeling. Like when I saw that the T-shirt that Elbie was wearing one day had the number 35 on it - the number of my Mum and Dad's house. Okay, let's not alert the Fortean Times or anything, but little things like that do add up. To what, I don't know...
This is me, standing in a shower cubicle while we shot the bathroom scene (it was the only place I could be and not be in shot) with Jonathan Bloom (D.O.P. , sans his customary beret and scarf) checking a text message or something.
Ah, the old 'photo of the slate just to prove you're making a proper film' shot. We ended up shooting (I think) 445 slates. It was going to be 444, but we had a kitty on who was going to guess the final slate total and I fixed it to allow Ainsley to win, totally stabbing Alex (Sound Recordist) in the back. And he's practically my brother-in-law. I have no shame.
Another shot from the FX bathroom. Where you go when you need some fake teeth.
This is Barry, Focus Puller and Steadicam Op. in a custom-designed T-shirt by Jo from Costume. Shortly after this I think he added to the fake blood on his T-shirt by cracking his head on one of the gruesome hanging tools in the Tool Room. 
The FX bloodbath.
The Green Man pub in Bedfont, where we had lunch. Very patriotic round that way.
A horse, non-plussed.
Mum and Dad's bedroom. Not really much horror in there. Unless you count the dolls, which are always pretty freaky.There are also a couple of publicity photos for the film out - one on this site - which also carries interviews with Olga and me (and, for the record, I do know that George Romero didn't direct 'Night of the Evil Dead') - and this one:
which appears, currently, on the Film London site.Curiously, both sites dub me 'A New Hope for British Horror'. If that's so, it means that my next film will be darker and better, the third one will be ruined by weird little teddy bears and the next three will all be CGI-laden dull-a-thons featuring petulant teenagers and Jar-Jar Binks. Wow, it's like a glimpse into the future...
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