We’re less than one week out from shooting A Cautionary Tale, with many aspects of the production coming together nicely, but others proving more challenging.
Regular readers may recall that after Stop/Eject, a project where the last few weeks of preproduction were marred by both lead actors and many crew pulling out, I vowed never again to make a film where people weren’t paid. (Puppet films excepted.) When I took on A Cautionary Tale, I figured this rule didn’t apply. After all, it wasn’t “my” film; I didn’t originate it, and I wasn’t producing it, so it wasn’t my call whether people were paid or not.
I was disappointed, but not surprised, when our lead actor pulled out about ten days ago, after being offered a lucrative alternative. Just like on Stop/Eject, it has proven very hard to find a suitable replacement, someone willing to travel way outside of London, for no money, for “just another” short film. And the search continues.
Another hiccup has been the cinematography. By mutual agreement, the DP who I originally selected left the project about a week ago. The lesson learned here is that, just like an actor, a DP must be right for the project. If you are working with limited resources, you need someone who relishes the challenge, rather than feeling restricted by it. Alex Nevill has stepped up to the plate, and I’m sure he’ll do a terrific job.
The knock-on effect has been that only today have we been able to start confirming equipment hires. For a while it looked like we might have to shoot on a DSLR, but Alex has been able to get us a great deal on a Red One MX.
Tomorrow our loyal band of runners and production assistants begins cleaning out the cottage at Newstead Abbey. On Tuesday, the art department led by Amy Nicholson will descend on the location and begin the huge task of painting and dressing it to become a writer’s study from 1903. Then, over the course of our three-day shoot, Amy’s team will have to redress it three times to bring it through the twentieth century to the present day.
Despite all the drama, I’m looking forward to the shoot. Many of the crew have worked with me before, including gaffer Colin Smith, costumer Sophie Black, sound mixer David Bekkevold, and of course Amy, and I know they’ll do me proud. And I’m sure there will be new great working relationships forged in the white heat (or more literally, freezing cold) of A Cautionary Tale’s shoot too. Stay tuned.