For a chance to see our fantastic director Adam Randall’s show reel, click on the link below:
www.youtube.com/user/adrandall37#p/u/0/2INkzOW-3oA
Look out for his breakout film HOODED, and his upcoming release, the hard hitting noir thriller EASIER WAYS TO MAKE A LIVING.
Many many thanks to our fantastic on-set stills photographer Stuart Hendry. He did a brilliant job as you can and will see.
To check out more of Stuart’s work or if you’re in need of a top class advertising, commercials or film photographer visit his website at www.stuarthendry.co.uk/
Clockwise from top left, click to enlarge:
1, Our star and our director, the main man Adam Randall. Look out for his upcoming film EASIER WAYS TO MAKE A LIVING.
2, The library.
3, Poised and ready for the action sequence.
4, Action!
Stills photography by Stuart Hendry – www.stuarthendry.co.uk
Dear All,
Apologies for the lack of updates, the production took over entirely, but we have finished!
The shoot took place over 5 days from the 14th December on locations in Kew, Harrow and Pimlico. We had an incredible crew that worked so hard – we got everything we needed and it’s going to look fantastic.
I’ll get some stills from the shoot up soon.
Best,
Andy
More coloured drawings from the Pablo/Niklas wonder team. The Boar.
Check it out, our Animation Producer Lottie Hope has now rustled up a colourist, Niklas, who has worked on Pablo’s drawings and come up with these wondrous specimens:
I’ve just finished the latest draft of our script. At this stage I’m only fine tuning: streamlining scenes to improve momentum or impact, adjusting dialogue for authenticity or a bigger laugh. Adam’s dialogue has been an interesting challenge. He’s supposed to be what the uninitiated (like myself) call ’street’. He’s a real London boy: he likes his football and his trainers; he’s the kind of guy who knows which new grime release is worth listening to. Having lived in the city for a while I was well aware that a character with these kinds of interests would speak in a very particular way, and that I’d have to work hard to capture it accurately in the script. I was excited too: ‘rudeboy-speak’ can be vibrant, powerful, even poetic. Its an aspect of what makes London so amazing: you can be waiting at the bus stop on a dreary Tuesday morning and find yourself tuning-in to voices of mind-bending verve and swagger, chatting about something as routine as a tube strike or last night’s Hammers game.
The challenge of nailing down a way of speaking in a script isn’t only about becoming familiar with it, though. The key is working out how to get that style on the page so that it will come across when read by an actor or, at an earlier stage in proceedings, a director or producer. Verbatim transcripts of conversations more often than not read badly as dialogue (even if the conversation itself sounded scintillating when it really happened). As a writer you have the opportunity to build-in structure and direction that is either absent from real-life speech or provided by the real-life speaker’s personal style of delivery, which an actor obviously can’t be relied upon to recreate. Of course the best film or stage dialogue does what’s intended even in the mouth of a pretty average actor, because of what’s been hard-wired in.
So nailing Adam’s dialogue wasn’t just a case of finishing every sentence with ‘innit’ (even if your mate, who’s actually a pretty authentic rudeboy, does exactly that). I’ve tried to give him slang that is varied and expressive, as well as real. Watching films that get it right proved useful. Again, there’s a huge difference between scripts that are packed to the gunwales with current ’street talk’ but end up cliched (like, I’m afraid to say, ‘Kidulthood’) and those that use the raw language with a bit of restraint, and somehow manage to come across more authentic (‘Bullet Boy’ has been an inspiration). So I’ve enjoyed getting to grips with chat like ‘kick back’, ’still’, ‘trust me’, and gauging how many times an actor might say ‘innit’ and ‘man’ in the space of twenty minutes without sounding like a goon from the Cambridge Footlights trying to do Dizzy Rascal. More script work will be called for between now and the shoot, for sure, but I’m pleased to have Adonis coming off the page loud and clear…
Our first day of Open Casting was a huge success, thank you to all our actors who came to audition, some really impressive performances. We have more people to see so will let you know our decisions in due course.
Thanks very much again.
Best,
Andy Brunskill
