Richard Priday as 'Ike' and Laura Fay Smith as 'Tina' in 'Hourglass'

Having been awake for all bar three and a half of the last fifty-four hours (and counting) I cannot vouch for the sanity or lucidity of this post, but I feel I must put in just another few minutes at the pixel-face to tell you where we are up to.

We finished.

In fact, we completed the movie by 9.30am, and started the upload of the 720p version to Vimeo (a ‘private’ Vimeo upload is all we can do right now; the competition organisers don’t want the entries to be publicly available until after the judging in three or four weeks… of course, if someone were to ask us for a link to that Vimeo page, we would be happy to oblige!)

To whet your appetite, here are a few production stills:

Richard Priday as 'Ike' and Laura Fay Smith as 'Tina'

Toria Pardoe as 'Kylie'

Laura Fay Smith as 'Tina' and Roland Guenther as 'Hutch'

All looks pretty cool, doesn’t it?

I have to say that I am knackered but that I am delighted with the way that the weekend has gone. Speaking purely for myself (selfish, I know… but I’m tired!) I enjoyed the experience of Directing – having never done it before it was a wee bit nerve wracking as I mentioned in a previous post – but I am pleased with the choices I made and the approach that I took. Everything was made much easier by the high quality of the acting talent on show. The four people pictured in the stills above worked their socks off, for zero pay, and were never anything other than enthusiastic. It was a pleasure to work with them.

The edit was a good process – although incredibly arduous for Tim and Jack, of course – and one that allowed for a surprisingly large number of creative and Directorial decisions. Editing is almost like ‘Directing 2:0’; you end up making almost as many decisions about the shots and the performances when you’re looking at it on screen as you do when you’re actually on set doing the shoot.

Tim has done a phenomenal job of editing. The man is a machine. I cannot understand how he can be so technically proficient with so little sleep. All I want to do is curl up into a ball and say ‘wubble’. Jack is similarly (seemingly) unaffected by the lack of sleep. Having a proper composition and a musical theme allowed the tension in the piece to build so much more effectively than it otherwise would. As for Alistair and his script… the fact that he was able to write what he wrote in just an hour and a half, and then to have those words come to life in front of him… quite brilliant, really!

Don’t get me wrong – this year’s competition entry is not perfect. There are a couple of unavoidable continuity errors (we have tried to disguise them as much as possible and we doubt that most people will spot them) that, with a bigger crew and more time, simply wouldn’t have happened. But overall this is the most ‘complete’ feeling piece that we have yet managed to produce. It was a good script with some nice black humour in it. There was good acting. The edit is tight and well delivered. The sound is terrific and the score is not only original, but also really bloody good

We have learnt a lot from this weekend. It may just be the tiredness and concomitant lack of critical faculties talking, but I think that the film is actually pretty damn good, and that is testament to the hard work and dedication of all eight people that were involved in the project.


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