As we finish compiling our evidence for assessment, it feels clear that the whole team is still interested in bringing the project to reality at some point in the not-too-distant future. As with Cones and Rod, there is some hope that restrictions will have eased by the end of the summer and we will have access to kit to shoot early in September, before we have to start planning our grad films.
Although we are cast and the cinematography is now thoroughly planned, our small team has meant that there are some elements which still need to be developed before we can shoot. The production design in particular will be a major creative and logistical challenge and there was still quite a lot of work to be done when the project was cancelled (the production designers were not on our course so did not have to complete the work for assessment). I think I have made most of my requirements for the sets clear but it is important that I oversee the whole design process to ensure the film’s aesthetic is completed and minimal compromises are made. I may also have to assist in the physical construction of the cardboard sets as there will be a lot of painting and cutting work to do.
Another consideration is a studio space where we can build the sets, prelight and shoot the scenes. Andrew and Jude have had positive discussions with the Napier photography department and we may be able to use their studios but it would be good to find a backup space in case this doesn’t work out.
I will also need to find people to fill minor crew roles in the camera department – there are plenty of people I can ask from our year and I have met a number of people in other years on grad films who may be interested in helping.
Additionally, I would want to visit the location with Jude and some stand-ins and block out my storyboards of the whole film using a DSLR to ensure that my perspective and use of 3D space was correct and realistic.
Jude and I are also beginning to discuss grad film ideas and are both interested in revisiting an old script of Jude’s called Blood – a vampire thriller set in the 1980s. If we can solve the logistical challenges, we would love to shoot this on 16mm film, drawing inspiration from The Lighthouse and Possum.