We locked the picture for the film this week, which means that the film's narrative is now set in stone. No more tweaking. Its a big milestone.There was a time when I used to tinker until the very last minute, but there actually comes a point where you just have to say "thats enough" and sign-off on the fact that this is the film that people will get to watch.
No other version, except this one.
So now we enter the wonderful world of sound, and I mean wonderful, because its one of my favourite parts of the process.
In film we treat the picture and the sound elements as completely separate entities in post-production, coming together at the end to create a whole film.
But for now, foley, ADR, sound design, music composition and song writing and recording, and the final sound mix will be on the agenda for the next month.
We have songs from the UK, USA and Trinidad to include in the film, and I'm very happy to be sprinkling in a few tracks from exciting new talent, as well as more established talent.
Music will be provided by the super-talented Laura Rossi, who is one of more all-time favourite collaborators. Laura always watches the film and immediately knows the right kind of vibe thats needed. When Laura's tracks start appearing over the next few weeks it will be one of the very best periods of creativity, and I am always thrilled to check my emails (ordinarily I greet incoming emails with a sense of dread)
Then late in April we will bring it all together in 5.1 Dolby surround, and put it together with the graded picture.
I shall then go and have a long lie down before I jump into 1953, and my next film.