Most of my crew and I arrive over an hour before the call time. We want to get ahead, but frustratingly some kit issues hold us up. Given those issues, and that we didn’t get a pre-rig day due to Ben’s availability, the fact that we run only about an hour behind all day is pretty incredible. Ben, best boy Max, and sparks Mikey and Rudy have to run all the distro into and around the priory, and put up all the big HMIs outside the windows.
Once we get going we bash out the first scene very quickly: two set-ups, one take of each. We move into another room and more complicated scenes. The crucifix-shaped windows installed by the art department look great on camera, especially when we blast shafts of light through them. For one shot we mount one to C-stands and use it as a gobo. Several people have very complimentary things to say about the photography, which is a great relief!
Welcome hot food is served from the catering van – Christopher Lee Location Catering. You couldn’t make this stuff up. But when we wrap, the camera and lighting team somehow find ourselves standing in the road, eating leftover sandwiches by torchlight.
Last night I watched some of The Prestige and Perfume: The Story of a Murderer before going to bed. Tonight I look at the DVDs on the table and think: no, this film has become its own entity now. The game is afoot.