Nipped to London to look for signs of progress on the post production front from Daffy and co, too early to call it but looking alright so far I think. Had a pop at another shot myself on the way in too and it went well.
On the way back – couldn’t be arsed to work – and instead watched ‘Skeletons’ which is fantastic micro budget Brit comedy. For what little cast and set up they had it’s really pretty clever and very ambitious and felt pretty fresh and funny …. good work.
Well deserved, and huge congratulations to our very own Kate Dickie on news that she’s confirmed as cast in Ridley Scott’s Prometheus. I’m sure Kate would be the first to admit she owes it ALL to me, but she’s far too demure to suggest it, so I just did.
Been writing quite a lot recently toward a feature length script, as well as collaborating with another writer on what might end up as a ‘long short’. It’s great to start thinking about the next thing what with much of the work left on The Gift being more like colouring in. Disparate ideas that have been bobbing around for a couple of years now have started to come together to actually make some sense and there’s been a couple of recent train journeys where I’ve just rattled out a ton of stuff toward an outline/treatment, some of which is alright.
It’s nice too because the two scripts go off in different directions from what little I’ve done so far, the short being a move into far darker, horror territory, while the feature is a punchier, lighter, dafter script than I’d usually be inclined to attempt – so it’s actually quite exciting.
I’ll have to work on my one line sales pitch for the feature … currently ‘Fear and Loathing meets Gregory’s Girl’ … and with the working titles (according to what day I’m scribbling) ‘The Joy of Sex’ / ‘Eric’s a Monster’ it’s all a bit misleading.
part two below …
Got another job starting next week, which is great – because it’s a nice one – but it does mean I need to stop chasing Festival deadlines.
I tend to work by compositing something that looks alright – but over wanky – and then try and dial it back in increments to something that’s more convincing so it doesn’t distract. This is a habit as there’s little method in it – and it’s like doing it twice, and in such tiny increments, that there’s many hours of just pretty much staring at the screen and tapping cursors left and right … basically I work hard, but I’m so, so bloody slow.
From here on in I’m gonna tinker when I can between jobs, and it’ll be done when it’s finished. There’s no hurry, after it’s already taken so long to get this far anyways.
I’ve started to get stuck into the FX shots, at the last count there are 45 of the buggers to be done in just under two weeks, but going well so far, it’s nice to get stuck into compositing again for the first time in about 3 years.
This is not an effects reliant story, there are no 3D CGi wet furred aliens and no intention to wow. Instead they’re all (hopefully) invisible fixes and tweaks to achieve what couldn’t practically be done in camera on location.
Below is a breakdown of a shot to show the sort of work involved. This clip runs to just 3 seconds on screen, but required background & sky replacement in order to remove unwanted buildings and to include a more dramatic sky and pylons which are actually two or three miles away. The house was a dilapidated shell doubling as the exterior to an interior shot elsewhere, so window frames and panes were replaced to make it look habitable:
1. The original shot / 2. Sky plate / 3. Matte / 4. Davie overlay / 5. Window replacement / 6. Final shot
There Will be Blood clip with markers indicating the gaze locations of 11 viewers ….