Melon Smash Meat

I've been trying to spend as much time in the edit suite as possible over the past couple of weeks - in between looking after Betsy (Jeanie's been away filming in America for her upcoming Goth project). We're getting on well, I think - we've gone through the opening twenty minutes and worked them up, and inserted a lot of the second unit plane stuff which we shot, which really helps sell the idea of the airport. The week before last was mostly taken up with working on one long sequence in the film, where Lena wakes up in her room for the first time. The scene relies a lot on sound, and because that sound wasn't there while we were filming - and there wasn't ever really time to schedule it in as a separate bit of sound recording during the shoot - we've had to improvise and try and come up with some of the sounds ourselves - pinching them from other bits of the film and sound effects libraries as well as generating them ourselves. Leo, the editor, cajoled a woman from Speade (where we're editing) to come in and voice some stuff - all of which seems to work really well - and I brought in a bag of stuff from Tescos to experiment with. Because some of the sounds we need are quite violent and fleshy, I bought some heavy fruit - a melon - something that snaps - rhubarb - and a large piece of pork. We tried hitting the pork with a hammer, which gave us some good stuff, but I wanted to try and get something heftier, so then tried hitting the meat with the melon. While part of me was concentrating hard on trying to find the perfect sound of a body being flung against a wall, the more self-conscious part of my brain couldn't help but question the appropriateness of a grown man kneeling on a carpet smashing at a piece of pork on a glass coffee table with a large melon.

At the end of this week, we did a playout and I brought the rough cut of the film back to watch with Jeanie. It was a weird experience - as always - revealing things about the film that you'd either not fully realised or somehow managed to blind your mind to, while at the same time feeling too familiar. It gave me The Fear a little - although Leo's done a fantastic job in getting us to this stage, there is still a long way to go and I do need to start working a bit faster if we're going to get through it - but I think everything is more or less there to allow us to get what we need. It's just such a massive job, and everything takes time - although to be fair, it was only a year ago this week that I was on my way down to have my first meeting with Sol about the Microwave scheme, and it was only really on the train down that I came up with the pitch for 'Mum and Dad', so to go from nothing to rough cut in twelve months is pretty good going. Of course, there's still the cut to finish, the grade, the sound mix, (hopefully) the blow-up and we've got to sell it, so it could be ages yet before it's even Out There, but at least now some kind of end seems to be in sight - eh, Dad?