Terms and Conditions. New Actor. Way Forward.
I’m pleased to announce that we now have an actor to play the role of Frank in Terms and Conditions. Davide Forde, (left), participated in the Intensive Course that I recently held and although I never consciously see workshops as places in which to audition people it would be disingenuous of me to claim that such a thing never happens. David made so many breakthroughs and such progress overall during the course that I became convinced that he would be able to navigate the demanding role on offer. Basically, he’s the right man for the job and I’m delighted to be able to welcome him on board.
As to the film itself. The script is now no more than two weeks from completion. Indeed, in one sense it’s already finished. It simply needs to be put onto the page. What then? Well, although the main roles have been cast there are others to be filled. There will not, however, be the usual first read-through. It’s unnecessary. This isn’t theatre. Instead we’ll be having a get-together over drinks at some point in the near future, probably towards the end of May. It’s then that we’ll chat about the script and establish a sense of relationships. We will also be watching a lot of films together, films that I regard as being influential on the look, style and overall feel of T&C. I will be having many discussions with the actors. Once an Art Director is on board they too will talk extensively with the actors. I and my Art Director will also be engaged in numerous conferences with the Cinematographer. And when I say numerous I mean numerous. I’ll need to know what lighting and what camera and exactly what lenses will be used for the various shots. To some extent this will be dictated by location and that will be yet another issue. It’s essential that I find the right locations. And if for the sake of the story I have to paint a particular colour on the walls of those locations then I will need to get permission to do so. Equally, if I need to acquire furniture in order to give a certain sense of character to a scene then furniture will have to be begged, borrowed or bought. I’ll also be looking to acquire some idea of the soundscape of the film before we begin. Fundamentally, I’ll need people who are totally committed to the project and if they are not 100% committed, if they are not willing to go above and beyond what is necessary, then they will have to go and I’ll find somebody else. This is not a short film where, in the past, allowances have been made. This is a feature. And there is absolutely no point in embarking upon it unless it’s done right. So, questions as seemingly trivial as what does ‘white’ mean in this or that context have to be addressed; questions like what kind of shoes does a character wear, even if those shoes are never in shot, have to be asked. Whilst I’ve learned that there is always an element of chance involved when shooting a film, that you can’t guarantee everything, problems occur, mistakes happen, you can certainly minimize errors by very careful and, if required, extensive pre-production.
Because of the peculiar nature of the filming process for Terms and Conditions we are looking at a long road ahead. But it’s a road whose goal will be satisfactorily reached if the preparations for the journey have been carefully and thoroughly worked out.