Above is the clapperboard at the end of day 1. Somehow it’s reassuring that, even when all the other camera stuff is high end digital, we still need one of these totally traditional objects. Last night the digital rushes were packaged up and sent off to the editing room, where the sound and pictures were married together (‘synced’) over night. The clapperboard is used both to identify each shot and to provide an exact ‘mark’ to align the audio and pictures. Today our editor Trevor Waite will start assembling the elements we recorded yesterday. By this evening we may even have a rough version of how the final scene will play. read more »
So… here we go.
05.05: leaving the house to catch the first tube heading north on the Northern Line. At least it’s not raining.
07:35: First AD Kristian Dench gathers everyone for some brief house-keeping notes, including the fire alarm procedures – and then we’re into a first walk-through of Act I Scene 2 with Paterson Joseph (Brutus) and Cyril Nri (Cassius).
07:55: This is the first big performance film for a decade that I’m making without my friend and colleague Seb Grant. He is off working with a.n.other company on a big reality show – and, at more or less the same time, having a baby with his wife Jules. (Congratulations and best wishes for that – especially as the due date is Thursday!) Last night he sent us some welcome advice… read more »
Marc Karlin was a major filmmaker and a good man. He was a colleague and we worked together on two of his films for television. I appreciated his imaginative and rigorously intellectual yet poetic approach to working with images and sounds. I admired his organising energy, his passion and his political commitment. And I’m grateful that he took me to my first professional football game, at his beloved Highbury. He died in 1999 – and my obituary for The Independent, written in great sadness, is here. Picture This in Bristol, in conjunction with the In the Spirit of Marc Karlin research project, has just hosted an exhibition of his work, together with a weekend of screenings at Arnolfini (only Julius Caesar preparations prvented me from going). And there was a roundtable discussion of his legacy, an audio recording of which can – wonderfully – is available for download here. More links for the week, with the expectation of additions across the coming days, can be found across the jump. [Updated: 07:45 on Thursday.] read more »
The last weekend. On Monday – Shakespeare’s birthday, in case you hadn’t noticed – we turn over on our BBC film of the Royal Shakespeare Company’s Julius Caesar. Director Greg Doran finished the fourth week of rehearsals on Friday with a full run-through, and everyone seems to have felt happy at the end. Today and tomorrow the art department is hard at work transforming an abandoned shopping mall in north London into the streets of a post-colonial African city (that’s art director Matilda Wainwright’s location plan above). There are props and costumes and camera gear and much more on site. And something like an uneasy calm before the (controlled) storm that is any major shoot. read more »
Tuesday sees the release (in the States only) of a DVD and Blu-ray for which, it is only slightly hyperbolic to say, I have been waiting for all my life. The great and good Criterion Collection have collated A Hollis Frampton Odyssey with twenty-four films made by the avant-garde artist between 1966 and 1979. I have seen just two of these, in large part because almost all of Frampton’s films have for the last three decades been all but inaccessible – at least legally. Yet the two films that I know, Zorn’s Lemma (1970) and (nostalgia) (1971), would be close to the top of my desert island essentials list (and I’ve also read a good deal about the films). So you can imagine how keen I am on a journey through another twenty-two (a clip of one of which is included below). read more »
If it’s Monday, it must mean there’s a week to go. Seven days from now we start shooting Julius Caesar. At lunchtime, with our First AD Kristian Dench, I head up the Northern Line to the location. As I have indicated before (and, no, I haven’t said where it is) the building in which we are filming is pretty much a ruin (above) – but a resonant one. And now it’s a clean ruin. Or at least, a good deal cleaner, with much of the pigeon poo gone, the floors washed and random debris carted away. We have a generator, working lights and a production office complete with a tiny dachshund. This afternoon’s task is a technical recce – and then tonight we are bringing everyone together for a pre-shoot production meeting. read more »
Yes, I know there are only 154 sonnets by William Shakespeare (not counting those in the plays). But for our new project we have also filmed a reading by a very distinguished actor of the Dedication that was included in the 1609 quarto edition. Here is today’s short press release about this exciting release that features filmed performances by many wonderful actors of each and every poem, plus texts, interviews, notes and a whole lot more:
SHAKESPEARE’S SONNETS TO FOLLOW THE WASTE LAND TO THE iPAD
Faber and Faber, Touch Press, Illuminations and The Arden Shakespeare are delighted to announce that they are in the final stages of producing a spectacular edition of Shakespeare’s Sonnets for the Apple iPad. The title features specially filmed performances of all 154 sonnets by a stellar cast that includes Fiona Shaw, Sir Patrick Stewart and David Tennant. It also features the complete Arden notes, providing unsurpassed commentary on the poems.
This digital edition follows Touch Press and Faber’s iPad app The Waste Land that presents T. S. Eliot’s great poem in an innovative and widely praised interactive format. read more »
The New York Times online is developing a smart interactive format for the discussion of big cultural events. You can get a good sense of their approach from Circling the ‘Ring’. Earlier this month The Metropolitan Opera started three full cycles of its ambitious, sometimes crazy but often wonderfully bold staging by Robert Lepage of Wagner’s four operas. And the NYT feature is offering a range of background features, often as videos, plus discussion and an intelligently-formatted selection of comments. There’s also a very good related article by Anthony Tommasini with Peter Gelb, the Met’s general manager, The Met, the ‘Ring’ and the rage against the machine. For my reactions to the HD Live screenings of three of the productions, go here, here and here (and that’s Jay Hunter Morris and Deborah Voigt in Siegfried above). Also, for a way to get round the pesky NYT limit on the number of articles you can read each month – as well as for a host of other links – go across the jump. read more »
In case you hadn’t noticed, the Shakespeare spring kicks off tonight. First up is a cluster of programmes on Sky Arts – a goodly number of them, including Being Shakespeare, produced by Illuminations. Then there is the big BBC season Shakespeare Unlocked, which is online and on air right through to July. We are making our own contribution to this, of course, with our BBC Four film of the RSC’s new Julius Caesar. And the director of the play and film, Gregory Doran, who is also the RSC’s new Artistic Director, was on Radio 4’s Midweek talking about this and more. Plus Julius Caesar is itself part of the World Shakespeare Festival, which offers a cornucopia of delights through the summer. Not to mention (because I can’t yet – but can on Monday – our Shakespeare’s Sonnets project.) So it feels like the time for a Shakespeare miscellany: something from Greg first, then the Sky transmissions, a trailer for the BBC season and lots of other links. read more »
There’s something slightly unreal about these final couple of days before we start work at the location for Julius Caesar. If all goes well, cleaning and prepping the site starts tomorrow, and then the art department will get going on Monday. A week later, on the morning of 23 April, we’ll be shooting the first scene. Lots of people are in the middle of lots of preparatory work, but at the same time there’s still some crucial paperwork to complete. To get through the final negotiations on that, the only thing to do is to keep calm and carry on. As Brutus says to the assembled and angry populace, ‘Be patient till the last.’ I thought therefore that it might be a good time for a little history. So, class, if you could open up your copies of James Shapiro’s 1599: A Year in the Life of William Shakespeare, we’ll begin. read more »