Looking Back to Go Forward

Hello little ones - what's been happening around here, then? I've tried my best to keep peeking in on you all, but it has proven a bit difficult. Anyhow, here I am albeit for a little bit.

I've come over all reflective during the last week (the thought variety, not the mirroring type) whilst trying to tie up loose ends on various things that have been left all untidy in the far corners of Tenacious Towers North Wing. That's where I tend to pop bits and pieces, y'see - the 'to be confirmed / continued / finished / burned / useless exes' - that kind of thing, and every now and again I have to remove the dust sheets, sift through and tidy up. Because I have been fairly busy of late, ["Hark!" I hear you cry. "I had no idea - you should have said..!" ;0P ] I had to sit down and go back to January no less, in order to clear the decks for the next six months. I had so much shredding to do as a result, but it was fun to go through the last half year in draft form. But where, in God's name, has this year gone, I ask you? In a strange way, I don't feel as though I have achieved much at all, but to tell you the truth, I suppose I have now definitely started laying foundations for the way ahead.

The year started on a real high, having had my short, "Perfect", selected for development by Screen East for Digital Shorts. Although we went through the highs and lows together, my Little Miss Perfect insisted on not behaving herself and caused a lot of headaches and heartache, before falling at Becher's Brook and bailing out of the process. Disappointing as it was at the time, it was actually a blessing in disguise, as following fast on the heels of that news was the early development of my 360 degree cross platform programme outline, "Tweet the Dice", and "#twitstunt", the first snippet of filming for the feature documentary side of the same project. Now at a stage where I can start putting the final pieces of the project puzzle together and getting it 'out there', it's been a fascinating research process so far and I'm looking forward to the next step - I am sure we'll chat more about it at another point.

Before I had even finished the final title graphic for "#twitstunt" I had two short films chomping at the bit and went straight into preproduction on "Runner" and "Hostile" with the aim to shoot two shorts in two days. What I essentially wanted to do though, was shoot for four films in two days: a very short cut for Virgin Media Shorts and a looser cut of around five mins for each film. I planned my production days accordingly and we all pushed through the shot lists and schedules like lightning - a totally brilliant couple of days from what had developed into an amazing month in general. With the short versions of both films complete and in competition, and the long assemblies teetering on their edit, I have been enjoying the fun of writing again and two feature treatments have now gone out to find a home this week, one stateside and one closer to home, so I hope something comes of at least one.

On assessing people, places and events over the same period, quite a lot has been and gone too. One best boy buddy upped and left for the heat of Australia, whereas another just upped and left this mortal coil forever, which was really tough. From the sublime to the ridiculous, the untimely departure of my i-Phone made me realise that no-one actually uses their phone for just plain conversation anymore - we all seem to text, IM or email each other - and due to that fact, unless I've been at my 'puter, I have hardly communicated with anyone over the last fortnight. It's very odd. On the up side, I've been on various filmmaking courses and talks to brush up on old skills and learn new ones; attended the excellent "The Story Engine" in Darlington (more on that here); plus I've also gotten to know a ludicrous amount of new folks since January - some of whom have become very special and trustworthy friends already. Then of course, there's The Kid. He turned two a couple of weeks ago and upon being put up to the 'big boys' class at nursery, led a mini revolution up the slide with his girlfriend, causing them to be separated for influencing all the three-year olds to run riot. That's my boy. He also knows which are my films now too - which is very cool. "Hostile" seems to be his favourite at the moment because the bass in the surround mix nearly blows up Tenacious Towers, but I think he actually prefers battering his drum kit along to the music from "Runner". And oh, how I love that...

Even though I promised myself I would, I haven't managed to get to see many shows so far this year, which is really rather rubbish - so that's something I need to start rectifying very soon. However, my summer of music started for real just last night, nose being tickled by Brandon Flowers' feathery jacket in Hyde Park. The Killers really were rather good and the evening was everything I liked an outdoor concert to be.

All this aside, I have to admit, I'm looking forward to a bit of 'me' time in the near future, and so after I complete a little bit of work in Spain very soon, I have decided to give myself a tad of a break in that very place, to refuel before the next wave of production starts in late July, when I will be once again, gearing up to sign cheques and shout 'action'.

So, have I laid my foundations for the right path? No idea, buddy. Only time will tell. I'm just really enjoying the ride.

Catch you soon.

Doing a Runner

Hello. Only me.

As promised, sweet ones, here's the link to "Runner" - my comedic homage to Seventies drama - also now uploaded to the Virgin Media Shorts competition.

"Hostile" and "Runner" quite frankly are as different as day and night and thus I fear I may be suffering from a split personality disorder when I write/direct. No surprising news there then.

Enjoy, comment and star rate on the Virgin Media site if the whim takes you.

I thank you.

http://www.virginmediashorts.co.uk/films/film/runner/

Hostile - The short Short

I am pleased to say the short cut of "Hostile" is now up online at Virgin Media Shorts. Click on the link below to view, star rate & leave a comment if you wish.

I have dedicated it to all of you have lived (and worked) on the edge of genius and madness. That's 99.9% of the Tenacious readership dealt with then ;0)

http://www.virginmediashorts.co.uk/films/film/hostile/

"Runner" will be up online as soon as I'm happy with it and I'll update that news here too.

If you enjoy the films and would like to support one (or both), I will be announcing when the official voting is open if we get through to the next round.

I hope you enjoy them.

Hostile Thoughts

Yesterday saw me conducting a little off-the-cuff market research. "Hostile" is nearing completion and so I wanted to test it's PG/U viability on a minor - enter Subject S, who, you have to understand, is like something out of "Charlie and Lola".

As she watched the film, I gauged her reactions, most of which were accompanied with a screwed up nose. At the end of it, I asked her what she thought in general: "S'good. But it probably smells." she replied.  

"How do you know it smells?" I asked her, curious, as this is what I had hoped an adult may feel, let alone a child.  

"'Cos there's loads of yuk food lying around, and it's dirty. There probably isn't even proper toilet paper or anything." was Subject S's reply. Very astute, I thought.

"Were you scared at any point?" I probed, wary that the film is quite dark and could appear nightmare-like to a child.  

She shook her head. "No. I just thought she was sad. Why is she sleeping there?" she asked casually. I explained why she was there; Subject S said she understood, but looked a little confused.

"I think she sleeps there on her own, doesn't she?" she replied thoughtfully.  

"Yes, she does." I smiled. "Why do you say that?"

"I don't think her husband sleeps there as he probably sleeps in the next room - which is nice and tidy." At this point she became interested in other things and started to leave. 

"Well, kind of...but why did you think she was sad?" I asked, as Subject S neared the door. 

She rolled her eyes skyward and tutted. "Because she knows she'll need to tidy up before bedtime. Look at the state of her room - I wouldn't want that job!" And off she flounced.

I can't wait to hear what she says about "Runner".

Reflective Shadows

Hello my little pack of voyeurs

The week has been full of real ups and downs - you know the kind of thing? I usually earmark it as post-shoot crash week: it's when I [try to] relax a bit, ease off fifth gear and then suddenly feel a general fight of optimism vs despondency about the future.

I have been holed up in an edit suite for the majority of the week and although we're making headway with the edits of "Hostile" and "Runner", I am an impatient kinda girl and want it all done and finished yesterday. Still, never mind, we're getting there - although the 2 minute 20 second limit and PG/U certification for Virgin Media Shorts has thrown quite a few issues for me to battle with - especially with regard to "Hostile". But one thing is for sure: there really is so much beautiful footage for both films, I will definitely be completing two edits for each.

Then I sit there, staring at the edit screen wondering if these are the films I set out to make? Yes, they are totally - and that's good - but will they appeal to anyone? I have no idea. It's a weird place to be, but I am not making films for any reason except to stretch myself, download some artistic visions to make room for fresh ones, ease my insatiable creative hunger and also, because a few years back, I committed to a 180 degree career change to behind the camera. 

Having spent 17 years in front of the camera (yes, I was a mere child...), I also spent my 'fallow periods' working in costume design, art depts, indie production, BBC production contracts, PA-ing to various Producers and assisting various Directors, Exec Assistant in PR, Marketing and HR - as well as the obligatory waitressing and bar work. None of this I regret, as it has given me an in-depth background knowledge of "business", what everyone is 'doing' and more importantly, what they should be doing in any given situation: it also means I do not suffer fools gladly. But does all that make me a good filmmaker? Again, no idea, and that's the honest truth. So far, the noises about the rough edits have been positive but that's no guarantee of anything; on the other hand, if I am just trying to satisfy my artistic integrity, then why am I bothered about success? Well, actually I'm not, but like most people, I have bills and a boring mundanity to upkeep, and would like to up the income levels from what I love doing the most: and that, my learned colleagues, is telling stories - in a literary and visual sense.

So, here I am, a shiny new and updated CV in hand and my eye on the market. I don't have a gob-droppingly amazing showreel or a long list of credits to my name as a writer, director and/or producer, but I do have a small neat package plus vision, drive, commitment and - hopefully - ability. Over the last month or so, my quest has taken me to Spain and back where I have had meetings about a fairly long term contract that may or may not materialize, and on the slightly less hot but just as sunny (kind of) and far more local side, I am looking forward to meetings regarding the development of one of my feature pitches and a drama-documentary for TV. As usual, lots of ifs and buts, however, opportunities all the same.

Hand on heart, I can say I have had the best time so far this year and one way or another, it has already proven to be a real turning point for me. Juggling this, plus my [nearly] two year old boy has been a tough test, but I've come out the other side unscathed. The boy also seems pretty grounded I am glad to say, although he keeps looking for "Hostile" & "Runner" Production Designer, Jess Alexander, under the spare bed, which is a little bit of a worry as I don't recall her hiding there in particular. I'm sure it's all down to the sharing of "In The Night Garden" stickers over the breakfast table.

I really look forward to unearthing the secrets currently clutched closely to the breast of the next six months of 2009.

Ever onwards.

The Story So Far

A little taster of Mark Spencer's beautiful stills from the shoots last week...as you will see, two very different days. Thanks to all again.

"Runner" 

"Runner" - Cast

Alan McKenna - Josh

Mary Healey - Viv

Mari Gordon- Price - Edie

Morgan Deare - Shopkeeper

"Hostile"

     
    

"Hostile" - Cast

Annette Ross - Charlotte

Crew - "Runner" & "Hostile"

Director of Photography - Neil Oseman

Camera Assistant - Colin Smith ("Hostile"); Max Welch ("Runner")

Production Designer - Jess Alexander

Design Assistant - Alison Bowman 

Props Assistants - Callina Pearson, Molly Lardner

Stills Photographer - Mark Spencer

Make Up, Prosthetics Artist & Wardrobe Continuity - Lucy 'Darkness' King

Spark - Max Welch

Sound Recordist/Boom Op - Sophie Shelton

Production Co-Ordinator - Peter Getkahn

Production Lawyer - Sam Terry

Editor - Neil Douek

Music - Neil Douek

Writer, Director & Producer - Lara Greenway

It's in the Can

Hello angel, 

I like that saying - it's in the can - it conjurs up images of heaving masses of 35mm whizzing as a multitude of camera assistants scuttle around bowing to a Terry Thomas-like Cinematographer. So, in this age of digital tomfoolery, what can we say?  It's in the card?  It's in the hard-drive? Or my favourite quote from this week's shoots - it's on the MacBook Pro, the external drive and the network: I am taking no chances with these babies.

What a bloody wonderful week I have had: in fact I have so much to say about both of the shoots and films, that I may, quite literally, bore you to death - so just take it from me, we all had an awesome week!  I had a very specific 'look' I wanted for each film, and I truly believe the images [now] on screen are a total carbon copy of the visuals in my brain. I said to everyone it was almost quite freaky as it was as if someone was downloading my brain onto the monitor before my very eyes: having seen all the footage again over the weekend, never truer words have I spoken.

My casts were incredible: a bunch of achingly talented seasoned professionals - including Alan Mckenna and Annette Ross playing the leads in "Runner" and "Hostile" respectively, Mary Healey, Mari Gordon-Price and Morgan Deare - who all added a buoyant energy on their side of the lens that just kept me rattling through my shot list like wildfire. My crew were totally fantastic and coped admirably with two vastly different shoots - one being a black comedy and the other being a drama (or in the words of one crew member: a total mindf*ck). The second shoot, "Hostile" was always going to be a sh*t of a design job with so little time and so much to achieve, but Production Designer, Jess Alexander, just cracked on with it all and pitched it perfectly, just like I knew she would. I also always had a suspicion I would work extremely well in this situation with my DoP, Neil Oseman. We have know each other for a long time now and worked on lots of projects from voiceovers to feature stuff - but these occurrences have generally featured me on the 'other' side of the camera or mic and apart from my recent promo, this was new ground for us.  However, I was not prepared for the 'unsaid connection' we have forged which allowed us to virtually mind read each other and therefore set up the shots, look and feel of the pieces with very little communal dialogue. It made the shoots very special and happy for all of us and I think that will show in the end product(s).

And so to Post-production tomorrow and back to driving my Editor mad with stories of how his edit suite feels like he's removing my life force with rusty, fetid, blunt instruments of filmic torture :)  I hope to have a rough assembly turned round for both films pretty quickly in order to be moving towards picture lock, music composition and the sound mixes fairly swiftly.

I have the beautiful set & location stills winging their way to me as I type - lovingly snapped by Mark Spencer - and so will post a couple when I have a minute or so, but for now, I have the terribly mundane tasks of cheque writing and contractual paperwork. Zzzzz.

I love it really - every single good and bad second of this crazy, crazy business - but the scary thing is, I am already getting twitchy about my next project. Crikey m'am.

Have a good week all.

The Codec Crises

Sweetness, if I hear the word codec again this week I may have to stop my very own hand from throttling my very own neck.

I have been locked in a padded cupboard at TechGeeks UnLtd since my last post and only just managed to escape this morning. I came home via the gym as a good workout was required to both keep on top of my training and release a little angst, but, for all my escape plotting, I needn't have worried. It has been a fairly quiet day - mainly thanks to the 'c' word - so I treated myself to a day of writing. Yeah, fancy that! Time to write, eh? Jeez. I'll have time to cook next. There was something really special about focusing back on a script again - it was very exciting and bucked me up out of my post-shoot/edit dip. I hate those dips. You feel all alone after feeling all over the shop. It's a weird place.

So, I did a little re-write of a (very) short I wrote a couple of months ago. It is terribly dark and oppressive and the Production Designer is going to have a field day, but I love it for all it's manky skankiness. The fact I love it is probably just as well, as I fully intend to shoot it very soon, it being one of three possibilities for my Virgin Media Shorts entry.

Everything is pootling along nicely with general work and most aspects of "Project Mute". Lots of chats and meetings are lined up over the next couple of weeks which will all be very fun, but there is also a hell of a lot of paperwork to wade through in relation to both the project and Company things. I was hoping to hold out on going Ltd for a while, as it really isn't something I have much time to deal with at the moment, but it looks as though it'll be unavoidable for much longer. More accounts, VAT, accountancy bills etc. Boring. Yawn. Snooze.

So suffocation by paperwork aside, all in all, it's good. Someday soon, I may even upload the promo/teaser trailer I have been working on. Codec allowing.

On, on and onwards.

Pandora's Riptide

Creative life's a funny old game, isn't it?  

I spend my time battering my senses stupid, 19 hours a day awake, 5 hours a night asleep for 7 days a week, pausing for only the occasional breather, bend my brain round on itself until it begs for mercy or sleep (whichever comes first), continually push and strive towards an all-encompassing satisfaction, and due to the perception [delusion?] that I seem to have a vague idea of where I am going, I refuse to stop for too long in case the path shifts again. Which inevitably it does. It changes from concrete to quicksand without a moment's warning, many times a day.

Then, I turn into Pandora, and there's a box - my curiosity gets the better of me. All ills, evils, toils and burdens descend at once, and as much as I am a strong swimmer, I am more than acutely aware I have no buoyancy or help and the riptide is in danger of pulling me under. But luckily for me, I happen to know there is a certain geography to surviving a riptide, you see: swim parallel to the shore or try to float it out. Both options will take you away from your current destination but you will of course, still be alive. Mmmmm. Swim parallel, float or fight the current? Off-course and alive; on-target, but dead? Not sure - only time will tell.

But back to being Pandora. There is, of course, one last thing at the very bottom of that box: Hope.  

Hope is a belief in a positive outcome related to events and circumstances in one's life. Hope is the feeling that what is wanted can be had or that events will turn out for the best. To hope is to wish for something with the expectation of the wish being fulfilled, a key condition in unrequited love. Hopefulness is somewhat different from optimism in that hope is an emotional state, whereas optimism is a conclusion reached through a deliberate thought pattern that leads to a positive attitude.

And that belief and thought pattern, my learned friends, is surely a buoyancy aid to be held onto.

Onwards.

Shiny Sunny Daffodils

Dum-de-dum-de-dum

Oh, hello - didn't see you peeking over the garden gate.  Isn't our weather delightful at the moment? I've almost got a blush of a tan across my newly-freckled cheeks, or perhaps I am just a little warm?

So, here I am - officially a year older and most definitely a year wiser, of course.  I absolutely detest the month running up to my Birthday - I have no idea why, I just do - so much so, this is the time of year I normally go away to some high mountain ranges and carve up some serious snow. However, due to many commitments this year, unless I get a sneaky weekend in very soon, there will be no ski thigh burn for me this year.  I shall just have to attend the gym far more instead. 

Talking of the gym, whilst (apparently) undertaking my best Lara Croft impression on the treadmill (you know I've never heard that one before...), I came upon a brand new idea for a web-based project. Early, early days yet, but very exciting all the same. It could actually work and it made me run even faster. I skipped home with glee and jotted down the idea, closely followed by a short story for a competition. I like the gym effect, me.  Not quite as succinct as the ski effect, but good all the same.

So, had a long, leisurely lunch with the exquisite Spencer yesterday to discuss our very early pre-pre-production plans for "Carver" teaser trailer and finance avenues for the feature. All very exciting - well it must have been, as the basic gossip subject matter managed a mere 260-odd comments on Facebook.  Fancy that, eh?  I love a good horror flick, me. Arf.

Other than that, there's a sense of calm before stormy-ness, which is fine as I have a few more planting beds to turn over in the warmth of the sunshine.  

Right, better be off as I have to be at Heathrow for 06:00 tomorrow.  Milan here I come.  If only.

Onwards.

Madness

Hi all

As I suspected, last week was a furious furore.  I don't have much time to dither over posts this week either, but in a nutshell:

Short re-write.

Feature Outline magically writes itself overnight.

Read magic Feature Outline, decipher writing, type up.

Short re-write.

Put magically written Feature Outline in drawer. Adios amigo, for a while. Dust - do your worst.

Travel to Darlington to attend The Story Engine, brilliantly organised by Ian Fenton.

Work in hotel bar, socialise with blog buds, Le Arnopp et Le Turner.

Attend first brilliant day of aforementioned festival.

Sh*t hits fan via email.

Tear apart Short film idea.

Huff. 

Drive Producer up wall.

Return to Festival seminars.

Lose all form of concentration.

Drive Producer up wall.

Return to hotel, take long shower.

Stomp around a lot like a child.

Tear apart Short film idea again.

Drive Producer up wall. Again. He's now on ceiling.

Network on a microcosmic basis with aforementioned blogbuds, joined by Chris Parr, Le Moran & Le Lemon and their prettier halves.  

Return to hotel room and work solidly until about 4am.

Breakfast before 8.15am telecon to Script Editor. Couldn't eat. Wasn't hungry anyway.

Absorb Script Editor notes.

Get ready to return to Festival & seminar I'm late for.

Decide to watch TV instead.

Kick self up arse.

Check out of room & carry on working on new beat sheet in bar (it was closed, I may add)

Make decision to quit festival whilst I'm on a roll - Simon Beaufoy will have to wait to meet me another time.

Return to festival for lunch, have quick chats & say goodbye before heading to the station home.

As leaving, start conversation with Really Interesting Bloke who agrees to be the subject matter of a long term Feature Documentary me & WorkGalBud are pulling together. F'cking A.

Leave for home with a spring in my step.

Work like a possessed demon on the train home.

Batter commuters out of way in haste to get home and charge MacBook.

Work like an even bigger demon, flat out all weekend.

New beat sheet, new character breakdowns. New, new, new everything.

Realise my rib is very sore after just being a bit sore last week, and trapped nerve in leg is getting worse.

Find out I have two ribs out of place - have them realigned. Trapped nerve eased with painkillers.

Weigh myself - have lost 7lbs in a week.  Joy.

Carry on with new new new everything.

Wait with bated breath.

Realise it's all good.

Onwards and upwards.

Laters, sweeties.

Hi - Bye

Hello little ones

I was just popping by to pick up a change of clothes and thought I'd stick my head into the cyberscribe for a peek. Looks like you have all been behaving impeccably. How very dull.

Well, I shan't be lingering I'm afraid, as I still have lots of working ground to cover on one thing or another plus there's an extremely busy week ahead of me, zipping here, there and everywhere. I tell you, lords and ladies, blink and you'll miss me. I also am lead to believe, from the pages of my diary, that I have a zillion deadlines looming around me, so I shall have to be extremely work clever / time smart this week, for sure. 

Well, once again - you know the rules.  But this time, at least give me something to "Oooooooh" at when I get back.

Have fun watching The Oscars but don't eat too much popcorn.  You'll only get a sore stomach again.

Stay true to The Tenacity.

Onwards.

Imperfection

Hello all

Just to let you know I am signing offline for a little while-ette. I have a vast amount of stuff to do and have just received my notes on my film, Perfect, which quite frankly reflect it is far from it's title.

All these online ditherings are too much of a distraction for now. Play nicely people.

Shall see you all on the other side.

;)

The Week That Now Was

Well hello there, you little bundles of fun.

It's been a busy week - there's no denying that.  

Having only just vaguely recovered from the brain drain exhaustion that was due to the exceptionally brilliant Digital Shorts training last week, I then launched a full attack on my project in general - resulting in a much tighter incarnation of "Perfect".  I am really very much liking this one. This one feels good and we're on target. Nice. Love it. Bloody superb.  

I have also had quite a few meetings to run through various ideas for cast, crew and general logistics. Everyone needs a wonderful Producer, I tell you. (But I have to say that, right?) Arf. ;) 

So, all in all a totally knackering week - which, of course, included a fellow scribey drinkie session. As usual, a great night had by all and it was lovely to catch up with the usual suspects Arnopp, Beckley, Barron, Campbell, Colgan, Lemon, Perry & Turner. I even met some lovely new suspects this time too, which was all very exciting as they hadn't heard any of my shit before. Fantabulous, I tell you.

Have a super weekend all. 

Bale Me Up

So there's been this massive furore about Christian Bale's behaviour last year on set of "Terminator: Salvation" flick - I'm not going to re-write the whole saga here as it's all over the place - but both Will Dixon and Trevor B. Cunningham have written very succinct posts on the matter.  As both of the above say, we really don't know any of the circumstances surrounding this outburst so can't presume who was in the 'right' or in the 'wrong'.  

But here's one thing I do know and know well: film sets and TV studios are highly charged places and people lose the plot all the time.  As an actor, you are standing there under hot lights, channelling your brain to the scene ahead,  getting into your zone - with make-up 'rearranging' and wardrobe prodding for the twentieth time in two minutes - then light meters are being waved in your face and tape marks stuck hither and thither, then suddenly, silence descends and it's your time to pull it out of the bag.  You enter your 'deep zone' and the world before you is now from the pages of the script. Then a train whizzes by or the trainee make-up girl drops her brushes with a resounding clatter.

"Cut - that'll do for a rehearsal.." 

Everyone, breathes again, scuttling to alter what seems like every single detail.  Director makes a few points, make-up are back with their powder and brushes, you find your opening mark and go again.  You run a few solid takes here and there.

Then the magic happens. No trains, no clatters, no line fluffs, no stray hairs, no shadows, no masking - pure visual gold - and just as you are 'there' at the end of the scene, some fucker is having a play fight right in your eyeline...to be honest they could just be picking their nose. Same effect.  End of magic. Time to flip.

And that's how easy it is.

I'm off on my Digital Shorts training course for the rest of the week now.  I now know exactly what we'll be doing and I am really looking forward to it - as well as cr*pping myself at the same time.  A bit of edge never did anyone any harm.

I shall report back next week.

Ta-ra.  Onwards.