I know what you’re going to say. I know, I know, I know. It’s been ages. You know what I’m going to say. “I should keep on top of my blog, etc” but I’ll save it. I’m just bad at blogging, but here we are, six or seven months after I shot my short film, and here I am, blogging about it.
I wrote the first draft of Another Night on my phone in the crew room while I was on a break from flipping burgers at McDonalds in Portsmouth, early 2012. I’d had this idea about a guy waking up next to his girlfriend and him having to deal with it the next day, emotionally, but I had no idea how to write it or show everything. I had the idea as it is now and wrote it down and opted to use a voice over. In hindsight, a voiceover might sound sort of lazy, but it was a way of getting the story across, which would have otherwise been impossible as the film is about 85% just one actor; the talented and generous Kevan Johnson.
I pretty much put Kevan through the ringer. He isn’t a smoker, but ended up smoking quite a lot through various takes and he was wearing nothing but a vest and jogging bottoms while we shot with an open window in January. He’s a champ.
After working with Frit Tam on her short film, Painting Love, as her first assistant director, I wanted to work with her again, so I bullied her in to being my first AD. I also managed to bag her sound man, Thomas Oswin. After working with Tom for just a couple of hours, I knew I wanted to work with him on my film. He’s funny, has the most acute attention to detail and works so hard. The man is a pleasure to work with.
My camera department consisted of the very capable and talented Tom Johnson and Tom Turpie. (Yes, there were three Toms on my film). Tommy (Johnson) has since shot more fashion than London Fashion week would know what to do with as well as scaling a large per cent of Britain for his project Another Britain which went in to exhibition on June. TT has since shot a lot of film, experimenting with different cameras and gotten his foot in the door in London’s modelling industry, having signed to FM models. Both were invaluable assets to the production of the film. While they are both different creatively and have very different ideas, they worked in such a way that complimented the film massively.
Sasha, our femme fatale, played just that. When I had a meeting with Sasha and Kevan in late 2012, they both came in together. We talked about the script, the work they’d done before, the look I wanted the film to have and any questions anyone had were answered by the end of the meeting. Having worked together before, Sasha and Kevan had great chemistry. I didn’t bother with an audition. I’d been put in touch with them both by Grace Cleere and if there’s anything I have for Grace, it’s trust and respect when it comes to things like this, both of which paid off.
Since shooting in January, I’ve edited a rough cut of the film. In all honesty, I’m not particularly happy with it. It’s gone through several changes with regards to pace, look and emotion. I haven’t looked at it for months as university projects have taken up most of my time. Over the next few weeks, my very talented friend, collaborator and class mate Jordan Griffin will be taking over the edit. I’ve got a lot of confidence in Jordan. Mostly recently he managed to cut 55GB of footage in to a seven minute short film in just five days. The guy knows what he’s doing and knows what looks good.
Fairly certain that’s all for Another Night for now. I’ll try and keep you updated, but I’ll probably fail miserably.
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