Ian is starting to build up a crew for the set build. Meanwhile I’m trying to sort out a few things that just don’t want to be sorted, so it seems. It’s frustrating but it’s very familiar. As my previous features have taught me, pre-production is all about chasing people up.
This week I viewed another studio, lacking the convenient walkway of 3 Mills, but better in certain other respects. Cost is likely to be the deciding factor.
I’ve been looking through agents’ suggestions for a voice actor to portray the Wooden Swordsman. Among them were a Young One, a Doctor Who, several recognisably-voiced advert narrators, a son of a knight who I once witnessed singing an impromptu duet of “The Longest Time” in a kitchen with Davros’ father, and an actor I tried to attach to Dark Side as Julius Gale a couple of years ago.
This evening I met up with a stop motion animator and compositor, Susie Jones, and we discussed the practicalities of a Dynamation ceiling mechanism.
I’ve recently returned from a couple of weeks away, which were most welcome after three weeks of solid writing. The time to reflect helped solve some of the problems I had come up against, and although the redraft is going to take longer than I’d hoped, it’s definitely going to be worth it.
Today I gave the greenlight for construction on Max’s bio-suit. I can now reveal the company involved as FBFX. Ian had a very good meeting with them last week, and amongst other things they discussed how to inflate the suit. I’m not sure how, but Ian had found an extremely dodgy website showing photographs of a guy in an inflatable bondage suit which might serve as an ideal base for Max’s habiliments.