the shoot of THE HOUR OF LIVING, including docu camera and some time-lapse photography plus a few tests, has generated 964,689,264,640 bytes (or just under a terabite) of data which now exists on two 'original' 500GB hard drives (they're not, in fact, the 'original' at all, of course, since the actual recordings weremade onto 16GB memory cards which we kept copying onto these rugged hard drives as we went along) and three 1.5TB backup drives which in turn now live in three separate locations in two countries. not meaning to come across as paranoid or anything, i'm currently in the process of making a fourth backup, just to be on the safe side... (estimated duration: about 11 hours)
with our shoot successfully wrapped and all the footage in the can (it really is, we've checked it all now, twice), we enter the at-least-as-exciting-if-not-more-so edit phase of the project. first assembly expected by christmas.
if you'd like to get your name on the credits for this, the first frame-funded feature film in history, there's still time! you can do so in three easy steps and you can have a frame dedicated to you for less than a pint...
the icing on the cake...
with principal photography thus complete, adam our codirector heads back to hungary, but all is not quite done: camera, sound and i go with him there to join up with our small but perfectly formed 'budapest unit' for one more scene, with the delectable - and in hungary really quite famous - andrea spolarics. and it's worth it! her way of cooking food that looks decidedly, and as per script, inedible, while smoking and delivering the crucial name ("george walter. ask george walter...") just round it all off for me. today back to the location for some cutaways of her flat and once that's done, we really, really have our film in the can.
"it's a wrap!"
saturday seven pm, dead on schedule, with not a minute to spare and not running over, we finish the london shoot and with it principal photography, and filmmaking's most treasured cliche rings through our last location: the most inherently cool flat we reckon we've been to. it's been amazing, except, 'amazing' doesn't do it justice: we've been blessed with extraordinarily good fortune and our team has worked like no other i've known.
thank you to all of you who have helped us in ways that can barely be counted, thank you to all of you who have funded frames, thank you thank you thank you! xxx
due to the horrendous evils of spam i've had to set comments to 'approval needed'. but please feel free to comment: i won't censor or hide you; this really is just to spare us all the intrusion of unwanted advertising for decidedly crap websites.
i am, i suppose, the instigator of this project. i wrote it, i'm producing it together with pascal verdosci, i'm directing, together with adam berzsenyi bellaagh, and because i've got adam codirecting, i'm even acting in it. but really the impetus for it came from our director of photography gregor brändli, who said to me 'october i'd be available to make a film'. and we'd been meaning to make our first feature ever since we first worked together, back in 2005...
banner image from our footage, shot on location in safiental, switzerland
- das team
- dan absalom (ivor)
- pepe belmonte (the singer)
- adam berzsenyi bellaagh (codirector)
- gregor brändli (director of photography)
- sam fordham (theo)
- gary grant (harry)
- charlotte heinimann (gabrielle)
- georg isenmann (production manager swiss unit)
- livia krummenacher (production assistant swiss unit)
- sebastian michael (writer, director, producer & george)
- jay ramirez (continuity & styling)
- moritz anselm schermbach (camera assistant)
- christoph schwegler (werner)
- andrea spolarics (eva)
- pascal verdosci (coproducer)
- david wade (conrad)
- geoff widdowson (sound)
- images & sounds