Myself and the Ritz had a email conversation concerning filming that ran throughout October. We discussed the films content, organising a date and things we needed for the shoot such as a piece of film being projected with no sound to run during the shoot. However, towards the end of the month there seemed to be a communication breakdown and I learned the establishment was extremely busy through undergoing big changes to its theatre. Jannath and I wanted to get a date sorted however, we both agreed it was important to not be pushy and apply pressure to the already busy Pete Genders who runs the “community driven project” of the cinema. I sent a few emails every so often but got no reply and Jannath thought it would be a good idea to contact that a different way.
The Ritz not being available to host as a location until December seemed like a huge problem at first but soon we realised it might turn out for the best. Shooting in December wasn’t really an option as we wanted to get filming on the road as fast as possible. We both knew the editing process can often take far longer than the production process and so we need as much time as we can to do a good job with that.
And so we had a challenge upon us. Unless we contact another movie theatre, how are we going to make the scene in the cinema work? Peter Glanfield who plays our main role as the “Old Man” in our short film luckily has strong connections with Horncastle’s Red Lion Theatre which , from a previous film project, I know has an ideal seating arrangement that consists of many rows of stylistic red seats facing a stage.
But what about the cinema screen? If we are to have a film being projected in the scene there’s no way the scene will be convincing if my group don’t do anything about the lighting. Together, Jannath and I came up with an idea involving the light from a projector bouncing of from a reflector and onto the characters’ faces. I did a camera test and here are the results!
I think they’re convincing and turned out great in that we see the movie in Jannath glasses and she looks forward to where the screen is imagined to be. Thanks to her standing in as a subject, we got a great feel for what we had to do during the shoot and was definitely a big and valuable part of pre-production.
Concerning “three point lighting” the projector almost acts as a backlight for our shoot and creates a great look for me that it replicated right when we’re in the theatre will be fantastic. Additional light are to be added to set a more atmospheric scene and to distinguish what’s going on in the frame.
All this preparation would go to nothing if we couldn’t get to a theatre and so through our links with the Red Lion Theatre in Peter, our main actor, we contacted Shirley Moffat who confirmed our shoot after numerous emails describing the details of the shoot.
Before arranging a date I spoke to all my actors through Facebook and we all came to a date we were all available to make, as well as a date likely for the theatre to be free. We’d realised through Peter that many dates would be taken up by the theatre company. Below you’ll find an extract from my conversation with the four actors involved in the production.
Like I said, with thanks to Peter we had an advantage. Being a member of the theatre for over a decade he knew what was going on behind the scenes concerning rehearsals and guest appearance and was kind enough to personally email me these details.