Dan Turner's Disaster Area

Working with actors

2012-01-29T03:22:00.001-08:00

When I started off directing films I was very wary of actors.
I had preconceptions of prima-donnas whose only aim was to undermine my visions with their ego-driven ideas and to change every line that had been scripted.
I was prickly, and distant to actors and huddled with the camera team to avoid all that actory nonsense.
"why can't they just act?" I'd lament?

Many years, and quite a few films later, and I cringe when I think about that attitude.
To any of those actors who worked with me on those early films I apologise.
I realise now it was my own insecurities as a director that informed that kind of silliness.

The reason I can say this now is that I now see first time directors I've met and seen work recently going through the same thing.
It's a vicious circle. The director is unapproachable and distant with their actors and then the actors get insecure and either get angry or try and do their best to keep the film going. (which the director then sees as undermining them).

I was very lucky on my latest film to work with some brilliant and very accomplished actors.
Peter Mullan, in particular, was a daunting prospect. The guy has won BAFTAS, Cannes and much more. But one of the first things he said to me was "I'm here for you". And it was the same for the rest of that cast.
Working with this calibre of actor is the most rewarding experience I have ever had as a filmmaker. It's a collaboration to make the best possible work, and it makes me rue what could have been all those years ago.
If I'd have relaxed and formed those essential actor-director bonds early on then the work would have been both better and more enjoyable.

Of course, you'll always get actors who can be difficult. Usually those with all the same insecurities that come with having years of doors slammed in their face.
You might also come across those actors that got into the business to be famous rather than commit to the work.

But... As a director it's vital you get the casting right. Don't make easy or misinformed choices. The casting process will define both the film and the filming experience.
There's no point in moaning someone isn't right for a part. It's not their fault. It's yours, for not casting properly.
Get the casting right and it makes all the difference. A fact many filmmakers overlook to their cost.

The next step is communication.
Talk to your actors. Form a bond. Don't assume just because they have a script they know everything you want.
Bad communication is another destroyer of relationships in all walks of life, but within the microcosm of a film set it is especially destructive.

I never thought it would happen, but I now have some of my best friendships with actors.
The principle actors of The Man Inside are all great buddies now and will fight alongside me for the integrity of my film.
I guess because I involved them so heavily they all feel like the film is as much theirs as mine. But also that special bond goes a long way. If an actor knows you are making a film with passion and integrity they will walk thru fire for you.

The Man Inside - Truly "script to screen"

2012-01-14T09:10:00.000-08:00

This will be my third feature film, and one of a long line of films in general, made over 17 years.

In my filmmaking history, I have managed to get one script completely on screen from its shooting script.

Time or budgetary restrictions often mean compromises of some kind, and its up to the director to think on their feet and make the best of it.

What you will see on screen for The Man Inside is what was on the page.

In fact, I ended up trimming out a few elements in the edit as they were superfluous (a luxury!).

I fought very very hard not to compromise the script I had written. I planned and prepared very hard and very carefully to make sure the story I had written would be fully realised visually.

If anyone, along the way, suggested an "easy option" I aways shrugged it off in favour of striving for the complete story.

So, thats what ive got now.

As we reach the last few weeks of post-production I am excited to see the film becoming polished into something even more wonderful than I could have ever imagined.

Being mostly biographical means that the film is very much an authors piece.

I really will have to live or die by this film, as it not only represents me as a filmmaker but also as a person.

I've been very hands-on in every element of the film. From costume colours to lens sizes and props, through to the edit and to the music. I've made sure every element is an integral part of the storytelling.

Every minute of the final edit is exactly the story I wanted to tell. Every moment of screen time is carefully thought out and structured to have the maximum impact.

It is truly a labour of love, and one that fills me with pride.

How I fell in love with movies

2012-01-08T16:12:00.001-08:00

I'm very lucky to have made movies. It's the thing I love most in the world.

I adore music, but the ability to be transported to other worlds and times and experience every conceivable emotion is unique to movies, and it's why I love them so much.

It started when my Dad took me to see just about every sci-fi or fantasy movie that came out in the late seventies and early eighties. We devoured every movie that came along. We saw some howlers, but I didn't care.

In those days when your local only had one screen, you had to wait a whole month, or more for the next one to come along. It was your only chance to see a film. This was before video arrived.

I happily queued outside the cinema on a Saturday afternoon. Scouring every inch of the photos and posters, they placed in display cases and in the foyer, for signs and clues about the movie I was about to see.

I can bring to mind the exact lobby stills of Superman The Movie that I must have stared at for ages before we were let into the screen.

When I left the cinema it was usually to return a few days later for another viewing and then to the shops to look at magazines or stickers from the movie.

Movies were magic. Events that were anticipated and then excitedly watched in enraptured awe.

Back in those days the only information you had about a movie was what was promoted in tv or in magazines and newspapers. It was carefully controlled so you weren't spoiled.

Hard to believe now, but nobody knew what E.T. Looked like without going to the cinema to see the film!

Then along came VHS and a whole new experience. Different, but just as intense. Video rental!

I bought video magazines to see what was coming out and rented everything I could get my hands on.

As soon as I could get to our local video rental shop (Channel 5) I would go to the new releases and see if there were any cards in the videos (cards meant the films could be rented. No cards meant they were out on rental).

I spent many hours in the video shop reading every video case. My eyes drifting to the 18 certificate movies with saucy covers.

I rented so many movies. Jumping off of one film with a specific actor and then renting all his movies, and then directors and so on...

This was the time I fell in love with horror. Especially Italian horror. I used to sit up at midnight when my folks went to bed and scare myself stupid in the dark with headphones on. I used to be a pretty intense and jumpy teen with good reason.

It feels good to remember what a tactile experience and exciting time it was back then.

Now movies can be accessed at the touch of a button, and that's very cool, but something about the anticipation, having to wait for movies, the disappointment of a cinema movie being sold out or a video being out on rental, all added to my excitement.

Back then information was sparse. I never knew if a film was good until I watched it, which meant I watched a lot of movies I probably wouldn't now.

Yes, it seems inconvenient now, but that journey back home with that rental case was excruciatingly long, and yet brilliant fun. I studied that cassette label. The certificate and running time all tantalising me.

Each time I queued at the cinema, and was turned away by a "full house" sign, it was heartbreaking and yet it made me even more excited. I would wish whole days away as I anticipated the next visit to the cinema.

Movies,and the experience of watching movies, is still a thrill and I guess I had no choice to try and have a go at making them. Perhaps to try and catch a piece of that magic for myself.

2011, review of the year.

2011-12-29T02:54:00.001-08:00

I think I will look back on 2011 as a turning point.
On the one hand I got to make my passion project The Man Inside and work with some amazing actors, but on the other side I had to experience some of the most unpleasant aspects of the film business that I've ever encountered.

I'm 43 now, and not really disposed to accepting certain types of behaviour.
When you're younger you allow things to happen because of ambition, but when you get older your tolerance levels decrease.

That said, I'm also not about to give up my dream because of other people and their unpleasant working practices and attitudes.

To this end, I find, as I contemplate 2012, that I will have a new film to present and a new career path that I'm very excited about.

In some ways making the film and the troubles I've had in the industry in 2011 have helped shaped my plans for the future, and I have a sneaking suspicion that I will reflect on that in the future as a big positive.

2012 will be all-change.

The last 12 months have been really tough with a continuing health problem, and I must pray that I can stay in good health in the new year, as I will need all my energy for all the things I have planned.

I'll talk about the new things I've got planned in the new year, but for now I feel ready to tackle 2012 with a cautious smile.

One thing is for certain. I won't be tolerating anything less than ethical behaviour from anyone I work with. What's the point otherwise?

The Man Inside - Featured on 35mm (Courtesy of SKY MOVIES)

2011-12-10T09:10:00.000-08:00

The Man Inside - Realisation of a dream

2011-12-10T05:33:00.001-08:00

I think most writers or directors have an ambition to make a passion project. A film that is close to their heart and tells a very personal story.
The Man Inside is just that for me.
It's a story based on my life and a very close friend.
I wrote it without any initial thoughts for genre or how it might end up. It was a story I had to tell from my heart.

Once it was written, I had a lot of interest in the script, and was fortunate enough to have funding to develop it and turn it into a script that would ultimately prove very powerful and provocative.

It's never easy to get funding to make a film, and especially this one, which although generated much interest, was pretty challenging and raw. Which can make people very nervous.

With the film industry being a commercial entity, a film with a predominantly black cast and a powerful message could be interpreted as difficult to sell.

Thankfully, the UK is quite unique in its ability to launch films which can be challenging. Like the recent Tyrannosaur. There is an audience who want to see a film because of the story and the performances.

Which is where people like Kaleidoscope films and Northern Film and Media come in.
They saw the potential in the project and got behind the film.
Believing in the script, they gave me the opportunity to make the film that means the world to me.
In a funny way, I guess it's reassuring have a director tell his own story, because those financing a film know he/she will deliver the story as its written without interpreting it any differently.

Similarly, the cast got involved because of the script.
I remember sitting opposite Peter Mullan for the first time and asking why he had gone out of his way to do it.
"I had to do it Bro. It's a cracking script".

This might sound a bit like me slapping myself on my back, and I don't normally do that kind of thing. But I'm doing it to illustrate how people have made it possible for me to make this film.

Next month will see the post-production come to an end and I will deliver the finished film.

In all honesty, if this is the last film I am to make then I am proud to have made it.

I'm super-critical of my own work, and acknowledge the mistakes I've made.
I'm not in favour of phrases like "we did well with the money we had". That's a cop-out for me.

With The Man Inside, I believe the story and the performances will be what people will remember.

I hope the film can be seen by as many as possible, and I hope it's social message will touch people and maybe make a difference too. That would be the best part of all.

- Posted using BlogPress from my iPad

Embrace the odd.

2011-12-03T09:34:00.001-08:00

One thing that really annoys me is how the tv/film industry expects creative people to be great salesman.
There's this demand nowadays that if you're creative that's not enough. You have to be able to push your projects and sell yourself.

Can you pitch?
Can you network?

Anyone who has ever worked with a writer or designer or composer etc, knows that it takes a certain kind of personality to be artistic or to have the kind of unique outlook on life that produces something unique or special.

It's simply not in most creatives personality to stand in a room with a big grin and sell their work.
To be honest, the types of people who can sell themselves tend to be mediocre. And perversely they often get the breaks because of their more garrulous nature.

The deal is, once you are famous or profitable then you get to be as weird and difficult as you want. Then, producers and the like will simply smile and shake their heads and say "oh... She/he is sooooo quirky".

I've tried to network and sell myself, but the truth is due to a case of agoraphobia I need a skinful of booze to be able to face a room full of strangers.

It's really really important for creative people to understand that it's ok not to be Mr/Mrs smooth-talker. You don't have to write oh-so-witty tweets or agonise over how many people read your blog.
If the thought of standing in front of an audience brings you out in hives, I'm right there with you.

I believe that its ok to be shy.
It's ok if people think you're a bit odd or you're not great at social stuff.
That's why you're different and that's why you can create things and others can't.

Pause for thought - When making films isn't enough.

2011-11-06T04:29:00.001-08:00

The last year has been beyond words. Shooting one feature film, completing post-production and then shooting another.

It's been full-on and at times pretty bloody difficult.
It's no co-incidence that my health has taken a turn for the worse, and my love for what I do has been very very tested.

I've been making films on and off since the early nineties, and now and again I've wondered if I should quit and find something less stressful to do. The feeling has usually passed and been replaced by the enthusiasm for a new project.

I remember after finishing my first feature film Experiment that I never wanted to make another film... For one week.
The week after, I was itching to do another.

That's how it's been. Some crazy force has driven me along, no matter how tough it's been to get things off the ground, and no matter how many people told me I couldn't do it. Usually when people tell me things are impossible it makes me even more determined.

I've had projects that's have worked, and others that I wish were better.
I've had projects like Splendid, that I believe in, to this day, but have never been given the chance, let alone screened!
But I always take the positives, and each filmed project adds a new set of experiences and a new set of skills gained. Plus a new set of friends and work colleagues for the future.

Sadly, this last year I have been exposed to a side of the film industry that's truly turned my stomach. (quite literally, as it turns out).
There are people whose motivations and humanity make me deeply uncomfortable.
There are things I've seen, heard and experienced that I simply can't agree with.

Don't get me wrong, I know that for the creative process to find a voice, it has to accept the business side of the industry and it's not our God given right as filmmakers to be successful/be commissioned etc. Projects have to be commercial and there has to be an audience for them.

But... I believe, and will always believe, that ethics and simple human considerations like respect and gratitude should be placed above all other things.

I know this sounds a bit touchy-feely. But I'm old-fashioned like that.
I believe in words like co-operation and team work.
I believe in everyone sharing in success and helping each other through the rough patches.
I believe in paying people for what they are worth.
I believe in storytelling above all else. The (perhaps naive) notion of a group of people coming together to create something they all believe in, and fighting for that vision. I then believe they should all be rewarded for their hard work.

At this time I'm deciding what I should do next. It's a strange time, and the first time in my life as a filmmaker where I've fallen out of love with what I do.

I do believe however, that if I do decide to return to filmmaking it will be to make the right projects with the right people.

Any other motivation would simply be contrary to everything I believe in.

THE MAN INSIDE - Test Screening

2011-10-06T09:03:00.001-07:00

On Monday October 10, you can see my new film THE MAN INSIDE, starring Peter Mullan, Ashley "Bashy" Thomas, Michelle Ryan., Jason Maza and David Harewood for FREE!

The film is having a TEST SCREENING at Elstree Studios from 6:30pm.

Its invitation only, so if you want a seat for the screening then email here

Numbers are very limited, so its first come first served.

Its the first time the film will be screened before an audience, and your opinions will be gathered on the night and will go toward shaping the eventual release of the film.

The film is not rated, but I would recommend only those over 18 attend, as it is a film with adult themes.

For more information on the film check here: IMDB PAGE

The psychology of filmmaking.

2011-09-09T08:56:00.000-07:00

Editing on The Man Inside is drawing to a close, with just two days left before I have my first cut to present to the producers and distributors.

It will certainly be my longest film, that's for sure.

It's usually at this point that I should be making all sorts of noises about how wonderful it is, and how its the best things I've ever done etc etc.

But the problem is, that when you've just completed a project that's pretty much what you always say.

The mind is a funny thing. You can convince yourself that a piece of work is the best you've ever done for many reasons. Possibly, the relief of it being completed, or simply the fact you "want" it to be good, so you convince yourself that it is.

Same goes for cast and crew. When they see a screening of the film, their desire for it to work/be successful etc overrides the truth of whether the film is actually any good.

Years later, of course, you can watch a film more objectively and make a better decision.

I've promised myself, on films I make from now on, that I'm going to keep how I feel about a film to myself and let others judge it.

That's not to say, I won't still have feelings about it, but I just wont express them. Or I will be cautious and thoughtful about it.

We all do our best when we set out to make a film, and quite often you feel its your best work... until the next one comes along and then "that's" your best work.

Psychology again!

So, now. I'm keeping a lid on it.

Is the Man Inside any good? I hope people will think so.

Meantime... the edited film will be handed over to the sound department, the composer and the online department for it to be finished off.

Give it about two months and we can start talking about what people actually think of the film.

For now... I'm going to write another one.

Writing and directing, from the heart.

2011-08-12T03:41:00.000-07:00

I've been soldiering away for quite a few years now, working on different projects and films. Some I'm proud of, others I'm not quite sure what I was thinking at the time. But I content myself in the knowledge that it all adds to my experience. Every mistake or happy accident is tucked away in the memory bank and hopefully makes me a better filmmaker.

As a filmmaker I've often pre-ocuppied myself with what's the best thing to do "next". That eternal question...

With The Man Inside it was never like that.

I had discussed and thought about the themes at length, and drawn upon mine and a friends life experiences, and wrote a biographical screenplay that poured from my heart, rather than my mind.

It was the easiest piece of writing I have ever done.

The characters took over and spoke through me, with very little intervention on my part. its the first time thats ever happened.

I guess because many of the characters were based on people in my life it was inevitable that they would be easier to realise, but I was taken aback at how quickly it all came together.

Every subsequent draft would always find the characters steadfastly refusing to be taken in certain directions and always remaining true to themselves. It was an odd experience, and followed through to the filming too. With rehearsals often becoming very intense discussions about why a character would behave a certain way. Both myself and the actors knew these people intimately, as we had previously talked at great length, so all egos were set aside in favour of the truth.

There was a time I would have laughed at this kind of talk, but through The Man Inside I've discovered more about myself as a filmmaker than anything I've done previously.

I think it began with a short film I made called Big Mistake, and through to Girl Number 9. Something clicked inside me. Something that had been missing up until that point, and led me to where I am now.

For a while I talked about no longer writing but solely directing. But, I think thats a mistake. I'm now writing again. Not with "cool new ideas" but with things I want to say to the world.

The Man Inside is the first of a trilogy of films I have written. Not in terms of following the characters from that film, but following a particular theme that fascinates me.

Reading other peoples scripts, and finding great projects is still very very exciting, but I feel I have more to say and deeper places to explore, which I need to do as a writer and director.

And thats the difference that I've discovered in myself over this last 2 years. The "need" to tell a story.

The man behind The Man Inside

2011-08-01T11:09:00.000-07:00

In January 2009 I sat down and wrote The Man Inside in ten days.
I had been planning it for months beforehand, but I was so ready to write it that the story literally just fell out of my brain onto the page.

As the script had so many biographical elements, many of the characters simply spoke through me, and i did not need to keep stopping to think about what would happen next.
It was an incredible process and the most enjoyable writing experience i've ever had.

It was May of that year that i was introduced to Producer Dean Fisher by a mutual contact, and we immediately hit it off and set about developing the script further.

Fast forward to july 31st and we called wrap on the shoot of the feature film in Newcastle. its in the can, and Dean and i are very very happy with what we have.

As the writer and director of the film, I'm obviously responsible for an awful lot of what you will see, and with this film ive been more hands-on than normal, even down to defining costume colours!

But, let me make this clear. there would be no film without Dean Fisher.
His tireless enthusiasm and belief in the film is the reason its now finished shooting.

The Man Inside is as much Dean's film as my own. He has never wavered in trying to fund the film, during some very difficult times, and even when I thought it was all over, he still persisted. He wouldn't leave it, no matter what.

Along the way, he's protected the script, and made sure it all got on screen.
During shooting he supported every decision i made and backed me up to the hilt.
The reason the film looks so amazing, and is not compromised, is because Dean made sure every penny ended up on screen and that i had every resource the budget could afford.

When I changed a scene at the eleventh hour, moving locations and creating a scheduling nightmare, he simply asked me "Do you think its the right decision?" when I said "yes" he didn't hesitate. Despite others being upset.

There were times when I spoke to him or phoned to throw my toys out of the pram, but he soaked it all up.
With Dean it was all about the film, and nothing else.

Whatever happens to The Man Inside, and I hope it will be a success, then it will be down to the incredible Dean Fisher. The best producer a director could ever have by his side.

Filming your passion project

2011-07-23T02:34:00.001-07:00

It's week two of filming on my new film The Man Inside, and it's been an incredible time so far.

Filmmaking in the UK means that as a director you have got less time and money, which means tight schedules and all the stresses that brings. But, in truth, I've had a chance to experiment, rehearse and be creative and it's been wonderful.

Peter Mullan has been an inspiration to work with, pushing me to find the truth in every scene and not just have actors turn up and read lines.
Its something writers really need to understand.
Both Peter and I are writers, and I was relieved when he told me he doesn't follow his scripts to the letter, but prefers to see what comes from rehearsal.
If the action or the words feel false, you have to discuss and develop.
What reads fine on the page can often feel false or unrealistic when played for real. So it's it's best to have an open mind.

This philosophy was extended to the point where I actually threw out a whole scene last week and started again.
The results were so much better for it.

When you're making something like this film the characters become very real. The actors know instinctively what their characters would do in a situation, and so do I. Together we look to make each scene feel real.

I'm sure many writers would resist such a notion, but the truth is that the written word has to be translated into a location, with actors and a camera and a direction. Sometimes, it just doesn't feel right.

The best thing about working on The Man Inside is having actors who are 100% committed to the collaborative process.
It's inspiring to see the trust they place in me, but also to understand it works both ways, and if something feels wrong then I must accept it.

As a young insecure director I may have once been horrified at actor suggestions, but when you feel passionately about a project and the actors trust you, it no longer becomes a fight. It becomes a journey you all take to make the best film you can.

D

The Man Inside

2011-07-09T07:33:00.001-07:00

For the last year or so I've written about a film that was about to happen, but never did.
It has been a fight, sometimes literally, to get this film funded and cast. But we have got there. Finally.

Two and a half years ago I sat and wrote a script based on the life of me and a close friend. Some of the material is painfully close to home, some of it is dramatised for story purposes. But every character that exists is based upon a real person, and the themes of the film are those close to my heart.

Being a story that featured a predominantly Afro-Caribbean cast provided it's own set of challenges, and once again revealed the sad reality of our world.

But we got there in the end. The tenacity of producer Dean Fisher and unwavering support of line producer Michael Constable meant that, even in our darkest hours, when the film had collapsed or was faltering, we kept going.

Every page of the script will go on the screen unedited or watered down. That, in itself, is a massive achievement. It's not an easy story at times, with very hard hitting content.
But the film is not what you might think. It's honest, and heartfelt, and from that emerges a story of.... Well. I won't spoil that bit. :)

The cast?
I'm not sure where to start.
It's a cast I could only dream of, when I wrote these characters.

Award winning actor and director Peter Mullan, Ashley "Bashy" Thomas, Michelle Ryan, Jason Maza, David Harewood, Jenny Jules, Ray Panthaki. With Carl Barat, of the Libertines, Tracy-Ann Oberman, Bhasker Patel, and an extraordinary group of young teenage talent.

We start shooting Monday 11 July.

There are some projects that mean a little bit more than others. This one, quite literally, is my life.

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Stormhouse Teaser Online!

2011-05-06T08:47:00.001-07:00

Hi

Today saw the launch of the teaser trailer for Stormhouse.

The teaser gives a small taste of the atmosphere and creepy feel of the film, as well as hinting at some of the dangers that lurk beneath.
I have always loved trailers and teasers that can get you in the mood for a movie without spoiling things for you.
The teaser also features a small sample of the great score by composer Sam Watts.

To view the teaser, head over to Bloody Disgusting

Stormhouse slected for the 2011 Edinburgh International Film Festival

2011-05-04T07:54:00.000-07:00

I can finally spread the news I've being dying to share for over a month now. that Stormhouse, my second feature film, has been selected for this years Edinburgh Film Festival in June.

I'm really really proud, as Edinburgh is the UK's biggest and most prestigious film festival, so its a huge honour for everyone that's worked so hard on the film.

The film will be screened over two nights at the festival, and its amazing to think we'll follow in the footsteps of films like last years UK premiere "Monsters".

There's lots more news about the film coming, and it's very exciting to know the film will be reaching audiences very soon!

Stormhouse - Test screening

2011-04-08T09:28:00.000-07:00

Ok. I admit it.
After months and months of fine tuning, bending, crafting, and forcing the little bugger into shape. I was a bit cranky when it came to doing a test screening.
The idea, of a load of strangers offering their opinions on my baby, made me want to leap into the audience and strangle each and every one of them.

Only high praise could have saved their sorry skins, and I wasn't in a forgiving mood.

Thank God then, for the calm patience and objectivity of my producer Dean Fisher and the equally open-minded Jason Arnopp, the writer.
As the two of them worked the audience, drawing out opinions like drawing venom from a snake, I found myself wanting to be somewhere, anywhere. Just not there.
My body language could be summed up by the following phrase "GO AWAY".

I was even asked how I felt about a test screening comment. My answer through clenched teeth probably sounded "terse" at best.

But you know what? It was actually pretty good.

Since that screening, the three of us have looked at all the comments, and the over-riding opinion was that they loved it, and importantly found it scary. Something, that is more important to me than any other consideration.

The exercise, apart from being a wonderful morale booster, also pointed to do a few things in the film that needed clarifying. Things, that thank God, are easy to do, and require little work.
So, ultimately, the comments of the test screening folk will help improve our film still further.

Right now. Jason, Dean and I feel very confident. Its a great feeling to know that you've made something that works!

It was ten minutes into the film, at the BAFTA screening, when somebody in the 200-strong audience screamed, that I knew we were on to something...

The creative process.

2011-03-30T07:08:00.001-07:00

I'm sitting in a grading studio in East London, observing a man applying his magic to Stormhouse, my imminent feature film.

It's literally days from finishing now, and I'm getting excited to unleash the film on the world.

These last few weeks have been very interesting, as I had some last minute ideas for the film which I've incorporated into the final edit.
Most sound and online facilities take a very dim view of such last-minute tinkering, but I've been very lucky that they have all incorporated my changes and performed some late miracles.

Making films nowadays is a more flexible process, with so much being in the digital domain.
From shooting through to delivery, the creative process can be in constant flux.
You often hear about reshoots or pick-ups for a movie on film websites like it somehow implies a crisis or a problem, when the truth is that as filmmakers the process of shoot, edit, deliver is no longer a valid workflow.

Instead, film has to be thought of as a work in progress until it's finally handed over to the distributor.
It makes sense perfect sense really, because it would be foolish to slavishly follow an old system established at the birth of film, when so much has changed technologically.

My feeling is that if the film is in post-production and I wake up with an idea that could enhance or improve the film, why would I ignore that?
Which is kind of what happened about a month ago when some ideas begun to flat around in my head. They nagged at me and bugged me, until I had to act upon them.

Now those ideas have made it in to the film, i can't imagine the film without them.

I love the process of trying to find ways to improve every moment of a film until someone tells me to stop!

Dan

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Stormhouse - March 2011

2011-03-13T05:30:00.000-07:00

Hi

Its been quiet on the Stormhouse news front, with good reason. We've been busy finishing the film!

There are some big announcements just around the corner, which I can't talk about quite yet, but suffice to say they are a big deal for all concerned.

Meantime, you can follow updates, and all upcoming news about the film on Twitter here: Stormhouse

One question Jason and I often get asked if the film is based on anything.
Well, yes it is. It's based on actual events that happened in 2002...

More soon.

It's coming...

2011-02-12T08:36:00.001-08:00

Only a few weeks to go before Stormhouse is fully completed.
Meantime, our sales team at AV Pictures are screening a version of the film to buyers at the Berlin film Market. It's all very exciting stuff.

The film is looking and sounding terrific, with the visual effects taking the film to a whole other level. I don't think any of us expected it to reach the heights it has.
The most satisfying part of it all is that I can sit back and let the film speak for itself and not try and flog something I don't believe in.

I set out to make a scary film, just like the horror films I grew up loving.
I'm happy to say the whole team have helped me achieve exactly that.

Can't wait for people to see it!

Visual Effects

2011-01-16T01:24:00.001-08:00

February 2010 is the month when Stormhouse, my new horror feature film, is set to be completed.
Which means we are nearly there now.
It's been the hardest film I've ever worked on. Not in terms of it being unpleasant, but in terms of it's technical complexity.
With over 140 visual effects shots realised by many different vfx artists it's a tremendous learning process as I sit and work through them as they come in for me to approve.

Visual effects, in case you don't know, is the term given to effects that are created for shots during the post production process. Often, these days, using computer software tools.

I think people often think that you just "put a bit of CGI" on a shot or "just remove that wire". If only...

When you edit a film it's usually without any visual effects in place, so you have to imagine how they work and guess the timings of when it will work.
When you finally get the completed visual effect shot back, it can often change the dynamic of a scene. Whether it's the artists interpretation, or simply having the Actual effect in front of you, it very rarely just slots back in the edit. You need to have a rethink and make sure the scene works how you originally envisioned it.

Over the last 3 months I have seen some brilliant vfx work being delivered.
As a fan of genre films myself I want to see visual effects that are cool, as well as those that help me buy into the impossible made real.
I think we have a good balance of visual effects that help tell the story, but also effects that people will scratch their heads and wonder how the hell we did it.

Visual effects cannot make a film great, but they sure can help!

Dan

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Signing off from Twitter

2010-12-29T04:10:00.001-08:00

New year always brings resolutions. But this one I have been mulling for some time now.

I have had something of a curious relationship with Twitter over the last couple of years. Sometimes finding it fun, but often finding it a little worrying.

I think if you approach Twitter in the way Stephen Fry does, then it's enormously entertaining. But sadly, it often feels like the worst kind of bi-product of modern culture, obsessed with celebrity and self-indulgence.

I know some will argue that it's merely their musings and chatterings made public, but I can't help feeling it's also about presentation. A bit like reality tv played out in text. You only say what you want to present to people. Like a censored or sugar-coated version that does not offend.

There is also the clamouring for followers which folk on Twitter become obsessed by.
I'm especially not too comfortable with that side of Twitter.

So. I list my reasons above by way of explaining my departure from Twitter. An act, that in itself assumes someone out there actually gives a hoot!
I certainly don't judge others who enjoy Twitter. Each to their own. Its just not for me.

If I have anything to write publicly, I will use this blog for news on film and my work.

Have a happy new year.

Dan

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Stormhouse update, and other animals.

2010-12-06T03:09:00.000-08:00

Work on my new feature film: Stormhouse continues apace, in post-production. With our visual FX team working hard and brilliantly on a big list of Visual FX that will hopefully make the film even better than it already looks!

I could not be more pleased with the film, so far. The picture lock we have now (with temporary effects, music and sound) works brilliantly, so with all the other elements to be added, its very very exciting.

I won't say how great the film is, because thats for the viewer to decide, but I am very very proud of this film, and its lived up to all my hopes and wishes for it.

Usually, independent filmmaking is a risky business, with filmmakers rolling the dice to see if they can make a film, let alone get it distributed!

Thats what happened with my first feature, Experiment. It was private investment and a huge gamble for all concerned.

With Stormhouse, we had a Sales Agent at script stage. because of Jason Arnopp's cracking script. Thats actually pretty unusual, and a testament to the strength of what we had.

The sales agent visited the set as well, and after viewing a days rushes contracts were slapped on tables!

We are now in the very happy position of already having secured pre-sales, so we know the film will be seen. A terrific achievement for everyone involved.

Readers of this blog may wonder whats happening with my other feature.

We didn't start production as planned, due to some budget issues that have resulted in us actually increasing our roster of well known cast.

I can't blab about this too much, as its all a bit sensitive, but suffice to say, The Man Inside will be shooting very soon, and I suspect after a small set-back, we have actually ended up much stronger!

Watch this space...

Happy Halloween

2010-10-31T16:33:00.001-07:00

Aside from carving out a rather splendid pumpkin and watching scary movies, I wanted to celebrate Halloween by revealing a little more about the horror feature I directed, that's currently in post-production.

So I thought I'd do a little Q&A.

What's it called Dan?
STORMHOUSE

What's it about?
It's set in 2002 on a British military base. The military have caught and imprisoned a supernatural entity.

When is it out?
2011

Why horror?
I rather like the horror genre, and I wanted to make a horror that was an unashamed full-on horror film.
It's a great script that Jason Arnopp wrote, full of suspense, atmosphere, shocks, jumps, gore, and some fiendishly dark twists.

Do you like scaring people?
Yes. Yes I do.

What's so different about Stormhouse?
We are not reinventing the wheel or trying to be clever. We set out to make a horror film that has the chilling atmosphere of The Exorcist combined with the visceral energy of modern horror.
Put simply, it's a horror film for horror fans, by horror fans. we know what the horror audience expect and we want to give it to them.

News!

2010-10-17T04:23:00.001-07:00

Hello again. As I write this I find myself in the rather bewildering process of overseeing post-production of the horror feature, and finally entering into pre-production on my long-cherished feature 'The Man Inside', which shoots the end of next month in Newcastle!
I'm looking forward to sharing lots of info on TMI, as, unlike the horror feature, it's more public-domain stuff.
I wrote TMI almost 2 years ago, and it's had a bumpy road to production, with one of the main funders going under rather unexpectedly a few months back. But luckily, the strength of the project saw another backer quickly take their place.
I'm looking forward to shooting in Newcastle. It's underused as a location, and has some stunning architecture and a real diversity of old and new.

It's a really strange business. After the flurry of interest after my first feature back in 2005, I have had to wait another 5 years, and then I get 2 films in one year! Madness!

If you were lucky like me to get interest in your first film, it's worth being very cautious about all the offers and promises you will get. Especially in LA.
People will look you in the eye and tell you how wonderful you are and make the kind of promises that make you go out and buy champagne.
My advice is to take a bucket of salt with you.

Cautionary tale aside, I'm rather excited at finally getting to make my passion project, and with the biggest budget I've had to work with this far.
I'm still pinching myself that I can write and direct something about a subject close to my heart, and someone wants to pay me to let me tell the story!

Inside the mind of a director. Part one

2010-10-01T05:34:00.000-07:00

It took me about ten years to finally fess-up that I was actually a director. It was like I was embarrassed to say it out loud. That it wasn't a proper job.
It wasn't until i went to Los Angeles to promote my first feature in 2005, did I really embrace it as a profession.
Over there people didn't say "You're a WHAT?" incredulously... instead when I said "I'm a director" they returned "Oh, cool. What kind of thing do you direct?".

Directing is something that carries a certain perception, and its always something people 'think' they can do, without really understanding what it means.
You could cheat, and surround yourself with very experienced Heads Of Department, who are prepared to carry you through a production, whilst you stand there looking lost.
Personally, my hackles go up when I hear about people who do that. But that's just me.

It's a long long blog that would suffice to explain what being a director is all about, and others have done it more eloquently than i.

Instead, I'd like to share what it's like for me, at this stage of my career, to be a director, and my perception of all the elements that you have to deal with.
It will be over two parts, because its a long subject, but I'll continue my trend of being honest and frank. Some people will wince at stuff in this, but I promise to not be offensive or rude.

1. Crew.
I always fight for my crew, and to get recognition for their efforts. At times Ive done it to the detriment of myself, but Ive done it willingly, so I am not about to whine about it now.
Ive been lucky to work with some very talented people, and unfortunate to work with people who are just in it for the "kudos".
If you are on one of my movies and you are working against the film or you are not pulling your weight/pissing about/being lazy, or you simply don't care, then... you'll make an enemy of me.
I love the films I work on and I treat them like my babies. if you don't care enough, you can get lost.
This, thankfully, is the case for a very small amount of people.
Most I work with are the most brilliant and committed, and nothing I have ever committed to screen would be there without them.

As a director. crew often find you cold or removed, and not willing to join in socially.
It goes with the territory, sadly.
With your head full of so many things, its impossible to just switch off and gossip or relax. especially during a shoot.

2. Cast.
This is a love/hate thing. To date, I'm still figuring out how to best work with actors.
They are often quite fragile emotionally, because they have to access emotion easily for the screen. So on the whole, they can be quite insecure creatures. this makes some of them borderline tiresome. especially, when they are afforded the kind of comfort or dispensations that equally hard-working crew are not.
I'm still learning patience with those kind of actors. it's a necessary evil, but one that tries your patience, when you are on a hard shoot with lots of problems to fix and a whole movie to keep in your head.
A moment of ego-centric behavior, or a self-serving suggestion for a scene, can sometimes make you want to plant your fist in their face.
But... You smile and play nicely. (just)

The type of actor I DO like, is the committed kind. the one who loves their craft and will do anything to make their character truthful and to serve the script.
I was lucky to work with a good number of these actors on the last film I made, and it was refreshing to hear suggestions, and see moments, that were actors completely devoted to their profession.

3. Producers

Its a thankless job being a good producer. You find and manage all the money and make it stretch to its absolute limit. You give everything you have, to get the maximum production value on screen. And then your director throws a hissy-fit because you dare to point out a slight problem on the rushes.

Personally, I have a lot of time for producers.
in the heat of battle, every word they have to say creatively seems like poisoning your baby. But, you have to listen if you respect them.

i have come across some bad producers. Yes.
Half-thought script notes, big egos, lack of sensitivity, apathy, etc etc. all the usual character traits.

But that's another blog much later on down the line when I can afford to do it!

For now.

I'll leave you with a joke told by Cinematographers.

"How many Directors does it take to change a light bulb?"

"I dunno. one?...maybe... two?...er... three?...... What do YOU think?"

The horror, the horror.

2010-09-03T09:39:00.001-07:00

My new feature film *** ***** ** ********** is now in the can, and it looks amazing.

Post-production is now underway, and the next stage of the creative process begins. I love this bit. Seeing the movie taking shape and getting excited all over again.
I trained as an editor, before I was a director, so I have to resist the urge to grab the mouse and keyboard and start cutting myself.
But it's important to step back and let someone objective bring a fresh perspective to the film. I have learnt this over the years, and it's reaped rewards.
There is a wonderful feeling walking into an edit suite and seeing a scene or sequence play even better than you imagined, because an editor has applied their own ideas.

It's beyond frustrating not being to talk in detail about the film. But that reason will become apparent much later.

For now, I'm really excited about delivering a very cool horror film.
As a big horror fan myself, I have always wanted to make a film that had the same vibe as an old school horror, like The Thing or The Exorcist. Combined with a modern sensibility of films like The Strangers.

Dan

Feature film 2

2010-08-24T07:57:00.000-07:00

I have just returned from filming of my second feature film. Normally I'd say what the name of it was, but frankly, we don't have one!
Suffice to say, it is a scary work of beauty. Shot with an edgy and arty feel, bringing Jason Arnopps terrifying script to life, to make sure horror fans get all the scary kicks they will rightly demand.

It was hard work. Very hard work. I was challenged beyond anything i had attempted before.
The film combines real human emotion and fantastic characterisation with some ambitious effects work.

I feel confident to say that we have something very very cool on our hands.
The sets, the photography, the performances and the location all combined to give the film a very unique look and feel.

I'm privileged to have directed it, and feel I have done my best work to date.

It's now time for post-production. An exciting time!

Hopefully, I will be able to reveal more about the film very soon.

For now, I am heading into pre-production on the next feature.
It's a life-changing year, that's for sure.

Dan x

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Film making

2010-07-25T11:05:00.000-07:00

A funny thing happened to me recently.
After my feature film The Man Inside was rescheduled back to September I was offered the chance to make another feature film!

The film in question, a horror, was a high concept piece and photography starts August 09!!!

When I say horror film, many people have an expectation of what kind of film it will be. And indeed, based on much of what Is produced, that expectation is fully justified.

However. Horror, to me is not shambling zombies, severed limbs and wise cracking sadists.
True horror, like masterpieces such as The Exorcist, are films that get under your skin. That shake you and terrify you. Films that stay with you as you lie awake at night. Films that send a shiver down you when you recall them.

I will write more about this film I am making when it's officially announced, but I wanted to make a declaration.

In setting out to make this, my aim is to make the best British horror film ever! That's not arrogant, but an intent. If I don't achieve my goal then so be it, but I have to aim that high as a filmmaker.

Grab your seats. I'm going to mess with your minds! :)

Filmaka

2010-07-08T11:09:00.000-07:00

Hi

This is a sad blog to write because it's talking about an organisation publicly.

Ordinarily, I never bad mouth anyone in public because I really don't see the point. I'm no-one to judge others.
I have thought long and hard about this and have considered the best way I can go about it. Ultimately, this is from the heart. Because that's how I am.

Last year I entered a short film, I was very proud of, called Big Mistake, into an online filmmaking competition called FILMAKA.
I had some dealings with them in the past, and found them to be a cool organisation who appeared to have the filmmakers best interests at heart.

I was very happy when Big Mistake won one of the competitions and I was awarded a cash prize of $500. To be honest, the money was not so important itself, but the physical gesture of a prize was really rewarding and made me feel very good.

This was last August. Nearly one year ago.

Since that time I have not seen one cent of that prize, despite repeated emails and telephone calls. And now my emails are sadly being ignored.

FILMAKA continues to run competitions and are working with commercial organisations as well as a feature film. If anything, their scope has increased, which leads me to believe they are not suffering financially.

I must confess to being very upset about all this. The prize now seems like an empty gesture by FILMAKA. And It leaves a bitter taste.

In writing this blog I hope other filmmakers will think twice about entering the competitions run by FILMAKA. I am not saying they behave this way to everyone. I don't know this. I can only write about my direct experience.

Be careful if you enter your film. Don't get your hopes up too much if you are awarded a cash prize. You may be unfortunate like me.

If you have a similar story, I'd love to hear. Or if you feel strongly about this issue please pass this story along.

Dan

The Man Inside

2010-05-24T08:45:00.000-07:00

One of the infuriating things about making a feature film is not being able to talk about it.
These things tend to be like a stack of cards that can fall down at the drop of a hat and quite unexpectedly.

However. I am going to stick my neck out here, seeing as we have a start date, a schedule, a budget and distribution!

There are a few things I have to gloss over, such as cast specifics, but I will do my best to get as close as I can to the truth.

THE MAN INSIDE:

For as long as I can remember I have been in love with the film The Godfather.
People often think of it as merely a gangster film, but it's so so much more.
It is the most beautifully realised story, and from script, to cast, to direction, to cinematography, and production design and of course THAT score... It is to me, movie perfection.
I cannot find a duff scene in the whole film. and what is amazing is that despite its lengthy running time it is soooo tense and absorbing.

So, when I sat down to write a semi-autobiographical film The Man Inside, I sat and wrote something that was infused with everything I love about my favorite movie.
And without realizing, it became full of the same themes as the Godfather.

I have long been fascinated by the nature of evil and nature or nurture.
i devour anything to read about Adolf Hitler, and how this young Austrian boy whose childhood hero was a Jewish Doctor who saved his mother's life became a monster.

I am fascinated by the concept of what evil is, and what it can do to someone.

The heart of The Man Inside is a dangerous, lurking dark beast prowling, and waiting to be unleashed.

Casting the film has been interesting, because I was keen to have a mixture of authenticity, well-known names and also some heavy-weight acting talent.

We certainly have this in abundance. I can't wait to start working with them.
It's been fun saying the names to people and watching their reactions!
I have been extremely lucky to get this kind of talent. I'm still pinching myself. especially as they are all first choices!

The film shoots in August, and will have a theatrical release in 2011.

There is a lot of very hard work to go between now and then, but I have to say that i am more than ready for it.

It feels like I have been leading to this point. To direct something so personal and so powerful is incredible.

I feel like my work to date has limbered me up for this big task ahead.

I'm sure there will be tears and blood during this production. It goes with the subject matter. But, i know it will be special.

In the UK right now, and maybe the world. There is a trend for movies made for the market.

That's fine. I will probably watch many of these films. But, right now, I really have to do something for ME. Something I can pour every ounce of passion into. Because it means so much to me. Because it makes the fire inside me, as a filmmaker, burn brightly.

Dan

How to be a media type

2010-05-18T16:05:00.001-07:00

My last post I talked about (well ranted) about media types and promised to bust some myths from now on.

My first musing is all about how some people in the industry (if you were to be in the South of France right now you would see most of them) are more concerned about appearing to be a writer/director/producer etc than actually being one. Or God forbid, doing some work.

Here is my bullshitters guide to appearing important.

1. Talk loudly about stuff you half heard and don't really understand. Try.... "digital" "character arc" "high-def" etc. Remember to look confident and to run like hell if questioned.

2. Wave your arms about a lot. This really looks good and people will think you are a creative. There does reach a point where you start to appear like a demented windmill, so be careful.

3. Never ever talk about your actual job. No-one ever admits when they are not full time media types that they have to actually pay the bills. Producers eyes will glaze over and people at parties will walk away if you let slip you do a (gasp) regular job.

4.tell people how "crazy" and "weird" you are as often as possible. People expect this from creative types. Perhaps fashion a badge "I am crazy I am". To help sell the myth that you are actually interesting. Producers love that shit.

5. Never ever finish a script/film.
Better still, never actually start it. You can then go on and on about your brilliant idea without all the pain of actually writing/making it. And it's vital to tell people how amazing your idea is because it's YOUR idea, so therefore, by default, it must be.
(secret tip - throw your head back and laugh extravagantly).

6. Claim to know everyone in the industry. (Not former BB contestants).
Read wikipedia and then spew all the info like Jude Law is your best friend (only use first name)
Sample: "Oh. I used to go to college with Jude, he used to use tippex on his eyelids"
(using obscure facts helps)
If someone ever asks why it is you have never made it, despite knowing all these famous people, smile and say "I want to do it on my own terms". Bullshit WIN.

Use these tips and watch your star soar!

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Killing myths

2010-05-13T09:13:00.000-07:00

I am writing this Blog after having the first pre-production meeting for my feature film The Man Inside.
It occurs to me that this sounds very grand and flash, and why even bring it up.
Well, it makes me sound jolly important, and as a media person that's all we care about. Sounding important. Because surely making films or tv shows is the most important thing ever, right?

BALLS.

I have a close friend who has a family member in hospital right now. The dedication, compassion and skill of those taking care of him is sobering and utterly inspiring and makes all this film talk sound like a lot of old wank.

Don't get me wrong. I love what I do, and grateful to have the chance to do it. Especially with someone elses money!

But it does annoy me when I hear and read people talking about media-related stuff like it's the "only thing worth doing" darling.

Excuse me. But fuck off.
Running around talking loudly about who you know etc and being a ghastly bore full of exagerated bullshit is really not something to be proud of.

I am very very lucky to work with and know a lot of people who are talented but don't feel the need to broadcast themselves and their work to the world at the drop of a hat.

It's kinda sad that people entering the industry nowadays are fixated on the cachet of being "someone" without actually having a creative bone in their body.
I refuse to blame reality tv because it's an easy target, and a wrong one. Believe me there are as many bores in drama and comedy.

So. You may ask why has Uncle Daniel gone on this rant?
No reason.
But.... I intend to call out some truths in forthcoming blogs and dispel a few myths too.

During the making of my feature I will be unflinching honest.

Should be fun!

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Movies and internets and stuff

2010-04-29T06:53:00.000-07:00

If I could go back in time in this phone box I would probably tell myself to pinch more salt and not to take everything people tell you in the business so seriously. Would have saved a lot of sleep and a few stomach ulcers.

I am currently getting prepared for pre-production on a new film which is something I have written myself. It's probably the most personal thing I have ever made and I can't wait until we start shooting in August.

Despite all the false dawns and empty producer promises after my first feature I am now strangely grateful for the Teflon coating I now wear as I prepare for another movie.

Besides, life is too short to stress too much about it all.

As I type this I am also beaming with glee at the prospect of another web series which is literally behaving like a runaway train just like Girl Number 9 did. It seems to be developing and pre-producing itself all by itself!

Maybe it's alive!!!!!

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LA 2010

2010-04-20T09:02:00.000-07:00

I hadn't been to LA for about 2 years, so it was fun to head back for the Streamy Awards (which James Moran covers in detail on his blog) and to meet some very splendid people out there.

Not much changes in LA, you're still hot when you are up for awards, and less so when you are not!

The level of BS remains reassuringly high, but being Brits, James and I often said things to people we really shouldn't which people found either a. Refreshing b. Unnerving.

We had some good meetings and I met a personal hero, a writer I respect, a producer I admire, and some very cool people all round.

As always, it's my duty to mention tantalising phrases like "exciting projects", "top secret meetings" and other assorted bags of shit.

Although, to be honest, they really are exciting, and by God, top bloody secret.

Sadly, my visit to LA was a little spoilt by an angry stomach ulcer which decided I should not eat all that yummy American food. Alas. I will return when cured to pig out accordingly...

Girl Number 9 - Live on Sky News!

2010-03-25T02:09:00.000-07:00

Hi

Last week I was interviewed live on Sky News about the success of Girl Number 9, and my thoughts on web drama in general.

It was a great piece and I really enjoyed the experience. The Sky News team are very slick and the interviewer was genuinely interested in the subject.
As part of their look at web drama, Sky News have run a piece on their website containing another interview with me, and also comments from Jon Owen about his web series Svengali. SKY NEWS: 'Boom In Internet-Only Web Drama'

Girl Number 9 has also been nominated for 5 Streamy Awards, including best director, writer and actor. James Moran and I will be heading to Los Angeles in early April to attend the star-studded award ceremony! Very exciting. We are really surprised, but very proud to get the nominations, especially for such prestigious awards. Last year, the Streamys lauded Joss Whedon's Doctor Horrible's Sing-Along Blog!

Finally, Girl number 9 has been picked up for Distribution by Content Film. It's an exciting development, and goes to show that web drama can work as a business as well as a creative expression.

How to be a media type

2010-03-24T15:07:00.000-07:00

Girl Number 9 - The aftermath

2010-02-12T06:11:00.001-08:00

Hi

It's about time I actually wrote some thoughts about Girl Number 9, now this incarnation of it is complete.

At the time of writing, we have secured a distributor for the web series, and as soon as I can update with more news I will. Suffice to say, Girl Number 9 has made a big impression and you'll be seeing a lot more of it!

For those of you who don't know, Girl Number 9 started with James Moran and I in a cafe in Soho talking about what we could work on together. We'd already decided we wanted to work together somehow, and on that day we agreed what it would be, and how we would do it. 4 months later and we were on set at Elstree Studios actually making it!

During those 4 months we had somehow got a brilliant script, fantastic actors and some incredible producers and a film studio who believed in us.

It was a bit like James and my private little joke had got out of the bag and suddenly it got all serious and big.
Before we knew it, we were on GMTV, SKY TV, BBC, RADIO 2 and on and on... It really caught the medias attention.

The bottom line, however, was that we felt like we had created something pretty special.
Everyone says that about their project, of course they do. But with Girl Number 9, people kept telling us!

I remember the day we showed Torchwood composer Ben Foster Episode One. James and I cowered in the back of the edit suite as Ben sat and watched. What if he hated it?
At the end, he turned with a huge grin and said "when can I start?"
And boy did he start! His score was extraordinary.
If you bought the DVD you'll know just how amazing it sounds in full stereo.

Working with James was one of those rare working relationships which was fun, effortless and so rewarding. We pushed each other and fought for each other. i think during the entire 6 months or so we probably had one disagreement, and that was during the most stressful time, and was over in minutes.
Most of the time we thought and spoke as one, and without ego or agenda.
I'd work with him again. Oh wait... I am. But that's another story....

When you watch Girl Number 9, the first thing that strikes you is the incredible production value.

This is a crew who pushed themselves to their limits and smiled every working day.
I don't agree with stressful sets, what's the point? We are making movies!

When Girl Number 9 was first aired in it's limited edition run during November we were blown away by the reaction from fans and press alike.
There were a few cynics, but they came round in the end. especially with James and I leaving death threats in their post-box.

So. We have 27 minutes of thriller under our belts now. Shot in 3 days and with an awful lot of good will and support.

The next chapter of Girl Number 9 is another day and another blog. But it's definitely not the last you will hear about it!

Dan

Website updates

2010-02-10T02:15:00.001-08:00

Head on over to www.dan-turner.com to view my brand new showreel, featuring clips from all my recent productions.
You can also view clips from Girl Number 9 and Splendid in the clips section of the website.

Dan

2010

2010-02-09T13:04:00.001-08:00

Hi.

I am finally returning to the land of Blogging with some updates in the coming days. Including info on my website, Girl Number 9 news, and updates on my other projects, including The Man Inside feature film.

Thanks to everyone who said hello at the brilliant SFX Weekender. It was great to see so many Girl Number 9 fans. It made me very proud.

Dan

Girl Number 9

2009-11-09T01:45:00.000-08:00

The web thriller I co-created with James Moran and directed 3 of the episodes is now online and available throughout November 2009.
Check out episode 1 here then head to www.canyousaveher.com to view the other episodes.

I will write a full blog post all about the making of Girl Number 9 very soon.

Dan

Girl Number 9

2009-09-17T11:47:00.000-07:00

www.canyousaveher.com

More information will be available soon.

What's next?

2009-08-26T04:27:00.000-07:00

Splendid is now being unleashed upon the world, so a new phase begins. Lots of hard work to raise awareness and make sure all the hard work everyone has put in is rewarded with a commission. It's simply not enough to pop a DVD into an envelope and cross your fingers. There are many weeks and months of Splendid work ahead. I think many people forget this most crucial of stages. It's not enough to write/perform/film etc. You need to put as much work into finding an audience too.
I will keep the blog up to date on progress.

The next blog I write will be a special one. A brand new project that's been quietly off the radar up until now. I won't be a tedious tease for too long. It's worth waiting for, believe me.

After that I hope to give all the details of my feature film project The Man Inside. it's another project I have not talked about much, as I don't believe in talking unless there is something to talk about. So, now is the time to break the silence! I will devote a full blog post to The Man Inside.

On other matters, my first feature, Experiment is now screening on Zone Horror in the UK. Available on Sky channel 319, Virgin and Freesat.
4 years later it's nice to see it pop up unexpectedly!

Finally. I would like to send a heartfelt thank you to friends and family who continue to support me. It does take a fair amount of energy to fight the good fight, and without the brilliant support I get, it would be impossible.

Splendid: The Official Trailer

2009-08-21T04:49:00.001-07:00

And now...

2009-08-01T05:35:00.000-07:00

Hello there.

And now... some Splendid news.

Following the screening of the Splendid pilot, the team went back to the edit site for a final polish, and to plan for a few other little absurdities that will be part of the ludicrous collection of sketches.

Friday July 31st, we shot 4 short sketches. All absurd, all have no point to them, or hidden meaning. They are quite simply ridiculous.
Which in Splendid language translates into - brilliant.

It was a mixture of a Greyhound Race track, with extras and lots of silly running around, complex special effects and fresh fruit, and 3 men dressed as dancing women.

A veritable mixed bag of stupidity, which will help us balance our pilot so we have 11 longer-from sketches and 8 silly quickies.

As Ive said all along, its a constant learning process, and despite the wonderful reaction we had at the screening we are all very committed to pushing ourselves as far as we can and making something that is as good as we could possibly hope for.

Next week will be our final day in the edit suite, and we will be laughing, debating and rolling around on the floor, throwing punches and fighting for what we individually believe in.

Comedy is a very complex and challenging form, and sketch shows are strange beasts, containing multiple stories and characters and different styles of humour. Some laugh out loud funny, some clever, some silly, and some more esoteric or surreal.

Right now, all the sketches we have made for the pilot deserve to be in the final edit. Which is a testament to all the talent involved.

Very exciting times!

Splendid - Screening reflections.

2009-07-13T03:35:00.000-07:00

Before we begin, lets look at a nice photograph of Richard David Glover and Jason Arnopp enjoying a crossword.

Those two boys really do see the benefit of mind-stretching word games, and you can genuinely see the delight on their faces.

After this photograph was painstakingly staged and taken, we headed down to MPC on Wardour Street for the screening of SPLENDID, our comedy sketch show.

Fifteen sketches of silly and ludicrous fun, shot with love and a lot of dedication.

We deliberately set the screening up so that the audience had all our cast and crew, but also at least half were made up of people not connected directly to the show, and in many cases, not knowing anything about it.

We gave out feedback forms to those whose opinions would be more pure and not influenced by involvement or investment in the show.

I think, everyone who had seen the edit knew we had something special, but it's still another thing to show people the work and to hear the reactions.

Laughter. lots of sustained laughter. And, lots of smiling. People really enjoyed themselves watching it, and there was a feeling that people were watching something that made them happy, and took them to a new place. Which was just what Rich and I had also wanted.

After the screening we collected the feedback and listened to people talking and it became clear that we really do have something to be proud of.

It won't be too everybody's taste, of course, but I think we have made a show that will really put a smile on your face. And I'm dead proud of that.

I'm also proud of all the talent that went into it.
Everyone involved made an important contribution and the reason many of the sketches have so many layers, is that creativity was employed from script to edit and beyond.

We learned so much making Splendid.
In creating, shooting, editing... we learned how complex comedy can be. but also, how much fun it is too.
We also learned, and are learning, about the structure of a comedy sketch show, and how important that is.

I am excited to be involved in Splendid.
I feel so much pride for what we have achieved, and feel we can bring a lot more of this to a full series.

To everyone involved, thank you all so much for making it possible and being so brilliant.

Dan.x

UPDATE:
Bloggings about the screening...

Helen Smith
Jason Arnopp
Johnny Caution
Phillip Baron

Splendid.

2009-07-10T02:32:00.000-07:00

Just a little note to say how great it is to finally let people see the results of all our hard work tonight at the first screening of Splendid - our comedy sketch show.
It's going to be a great night, and I feel very proud.

Normally, first screenings of any work are full of trepidation, even when screening to people who want to like your work!

We have deliberately set the guest list up with a range of people, and over half the audience are not connected to the show, and only know what's out there on the internet. So, it will be great to gauge genuine reaction.

I'm so sorry to anyone who didn't get on the guest list for this screening. Sadly, resources only stretch so far, but hopefully we will have another one soon.

At the risk of sounding smug, my excitement to screen this show vastly outweighs the nerves. And, that's the first time that's ever happened.

A good sign.

Splendid!

Hello Mum.

2009-07-08T09:29:00.000-07:00

I still find blogging rather odd. The idea that anyone would read this and be remotely interested fills me with fear about my own narcissism and the sanity of others.
I gave up Twittering for this very reason.Because i genuinely have nothing Earth-shattering to report on a daily basis.
Now, now, Mr Daniel, you cry. You're being rather disingenuous, so do shut up, and just blog, or don't. Honestly!

Ok. Eyes down.

What's happening?

Splendid. All done. Finished. Complete. Over with. Line drawn under.
What happens now.
A 3-month promotion campaign that's what. Starting with one of those fabulous cast-and-crew screenings where Rich and I get to say thank you to all those people who worked so hard and made it all possible. I'd love to take sole credit for it all, cos it's so bloody brilliant, but sadly I have to salute other people for all their talent. Quite tiresome, I know. Not only are they talented, but they work jolly hard too. I mean... What's their bloody problem?
Let's just say, if there is a bit you like in Splendid, I would like to take SOLE credit for it right here, right now. Thank you.

About a month ago, when we looked at the final edit and saw what we had, we took the decision to not let any sketches air online.
It's simply too precious a commodity, and it's rightful place should be on the television.
So, there will be snippets and things popping up, sadly there will not be whole sketches. Until after any potential broadcast. We feel very strongly about this, simply because we are so very excited about what we have.

I will keep updating on the progress of Splendid for the benefit of everyone involved.

As to other things going on.

I hope to be able to reveal some news about the feature film I'm working on very soon.
I'm very happy to be working with a leading UK producer, whose just had a tidy hit on their hands.
I don't want to go into detail on the film yet, basically, because he'll mostly likely hit me quite hard around the head.

I have so many thoughts and things I want to write that I am going to be organized now and do a list. I love a list.

1. Are writers in danger of not writing real characters if they don't interact and mix with real characters? I know people will argue that it's the job of writers to use their imagination. But after 60 years or so of television and film, aren't our imaginations now being influenced by fiction rather than reality?

2. Comedy. Why is it seen as drama's rubbish cousin? Trust me. Comedy is as difficult, if not more so than drama. Once made, the demands of a comedy can be much stricter and purer than a drama. Does it make you laugh? No? Then it doesn't work. It's about time it was respected more at award ceremonies.

3. Cheese and Dogs. Very similar in my book. Individual food type and individual species. However, many many varieties, and all with very different qualities. I like both, very much.

4. I like Bakwell Tart very much. I am famed for my love of cake and puddings. But the Bakewell really is the queen of puddings. I could literally eat Bakewell until I popped. It really is extraordinary. However, if you attempt to put a cherry on top of it, I will destroy you *

Until next time.

* See, I told you I have nothing Earth-shattering to say. However, if you also like Bakewell Tart, please do get in touch.

more soon.

2009-06-25T14:27:00.000-07:00

Hi

I've been a bit tardy of late on the blog, mostly due to the projects taking up a lot of time.
Next week i hope to have an extensive update on Splendid and my reflections on creating a comedy show.

Writers Block

2009-06-15T07:31:00.001-07:00

Quick update to say there's a screening of Big Mistake, on Wednesday at 9pm at Writers Block. There's a Q&A afterwards with Jordan Pitt (Clayton) and myself.
Doors open at 7:30pm -
Juno Bar
134 - 135 Shoreditch High Street
London
E1 6JE

Nothing to say.

2009-06-02T04:48:00.000-07:00

Is saying nothing the same as having nothing to say?
No, I'm not being obtuse.
I'm just not fond of talk of "secret projects" and "can't talk about it" type blog posts.
Frankly, dear reader, I love you too much, and feel that if I were to tease you in this way, you would become unstable and perhaps murder someone.
Rest assured, then, that this delightfully concise and dare I say, modest, blog post, will only report the very most exacting of facts. A mixture of the bleeding obvious, and the merest hint of an update where appropriate.
I shan't (you'll embrace me to hear) waste your very valuable time on things I can't/shan't or indeed, rather rudely, won't tell you about.

So. My top 5 Film and TV facts.

1. Splendid, the sketch show. It's being edited right now this very minute. I could tell you that it's really quite wonderful, but it's possible you'll think I'm just "spinning" you. Instead, I'll show it to you when we're done and you can judge for yourself. There. Can't say fairer than that, can I?
2. I am making a film called Lifejacket. It's a feature film.
3. I am currently promoting a very brilliant feature film script called Blood Red Sky by one Jason Arnopp. I won't tell you how brilliant he is, because his talent makes me rather ill with envy.
4. I went to Abu Dhabi last week, and had a jolly nice time. I may work there.
5. I own a set. I acquired this set from a television company.

and now...

My top 5 pointless facts about me.

1. I once attempted to get Tom Bakers autograph. But failed when my legs gave out, due to nerves.
2. I used to DJ in a club in the industrial area of Docklands. One night, someone asked me for a request, and I simply said "no". They then tried to fight me.
3. At school I charged foolish school children 10p to interpret their dreams for them. Of course, I have no such gift. But was delighted to take money to use for when the ice cream van visited.
4. I still believe there is a Loch Ness Monster.
5. I have only ever walked out of one film in the cinema. Highlander 2. (albeit with only ten minutes remaining)

These things are, of course, irrelevant.

Big Mistake festival calendar update

2009-05-18T01:05:00.001-07:00

Hello!
A short blog this week, to update on Big Mistake's festival calendar, so far this year:

June 02-07: Ohio Independent Film Festival
June17-21: Provincetown International Film Festival
July 08-18: Jersey Shore Film Festival

Also, you may have noticed that I'm not updating my Twitter so much these days.
From now on, I'm going to endeavor to keep all production updates on this blog.

D.x

BIG MISTAKE ON VIRGIN MEDIA SHORTS!

2009-05-07T12:56:00.001-07:00

You know how blatant pimping of material makes me blush.
Well, I'm blushing like a nun as I write...

Please go see the Virgin Media Shorts website to view and leave comments for a brand new cut-down version of Big Mistake!

Thank you.

Splendid: Pilot - Production Diary Part 8.

2009-05-04T23:15:00.000-07:00

DAY EIGHT:

Explorers & Wizard

From the moment we all set off at 7am to the location, the black clouds rolled about menacingly in the sky.
I had been monitoring the forecast and it looked grim. Rain all day.
We were filming at the RSPB sanctuary in Bedfordshire, inside a quarry that looked like something from a far away country, with imposing orange rocky hills and unusual and exotic foliage. It was very evocative, and perfect for our EXPLORERS sketch.

Although the rain was not a problem for the sketch, as it was set in a jungle type of location, the rain slowed us down to a crawl, in terms of filming. We had to wait under umbrellas and grab what we could when the weather brightened for a few moments. Even with that limitation, we still managed to get a lot done, and by the time we resumed in the afternoon, we were in great shape, and the sky had cleared too!

Lunchtime will be largely remembered as walking through the cafe of the RSPB with Richard and Eric, dressed as tribesman.
Mouths dropped open and people stared as we queued up in the cafe for our lunch.

We pressed on, after lunch, with a difficult special effect to achieve, and once again Jamie Bishop delivered. It is both ridiculous and brilliant!

Explorers will stand out from the rest of the sketches because of its scope and sheer audacity in what we achieved. You'll see what I mean...

As we wrapped that sketch, and prepared for Wizard, it started to dawn on everyone that this was the last sketch. Number sixteen!

As the evening began drawing in, we filmed at our cave location, and worked hard to achieve a real atmospheric medieval style sketch.
Richard Swingle the DP was grinning as he looked thru the viewfinder, and I knew he'd pulled it off. It looked amazing. Wizard had been lifted off the page into something really special. A combination of rigorous rehearsals with the actors and Rich's great lighting, together with Jamie's art design. It all gelled to make a real knock-out sketch. In a way it was a symbol of everyting the 8-day shoot had been about.

When we wrapped for the last time, it was an amazing feeling. Johnny "Caution" Harrison, who had produced the pilot alongside me, stood there looking up at me, grinning from ear to ear like a proud uncle, and the cast and crew looked a mixture of happiness at what we had achieved and sadness that it was over. For now...

As the pilot for Splendid enters post-production, I can pause to reflect on one of the best shoots I have ever been on in my life.
As with any project like this, there are the inevitable moments of crisis and drama, but overall this shoot was happy and fun.
Everyone worked really hard, and got on incredibly well.

I think the thing that excited me most about this shoot was putting together a team of some of the most talented people I have ever worked with, and watching them push themselves to the very limit of their creativity.

Thank you...

The Writers:

Jason Arnopp, Piers Beckley, Sarah Morgan.

The Performers:
Richard David Glover, Hayley Jayne Standing, Rea Donovan, Stephen Evans and Eric Lampaert

The Crew:

Richard Swingle - DOP

Mark Sneddon - Focus Puller

Dill Truelove - Camera Assist

Jamie Bishop - Art Director

Sophie Shelton - Sound

Suzie Irlam - Production Co-ordinator
Louise Harris - Production Assistant

Philip Higgs - Runner

Siobhan Furlong, Michelle Court and Michelle Webb - make-up
Marianne Mercer - Costumier
Celina Cadore - Production Admin
John Harrison - Producer
Elstree Props

Splendid is a unique project, because it is inspired by the way shows like Monty Python came about.
A group of people who want to express themselves creatively.
No egos. No talk of demographics or platforms.
Just pure unfiltered creativity.
Richard David Glover and I set out to make a show that was built on a democracy of laughs. An approach derived from the sixties and seventies, where programme makers were concerned primarily with the material and nothing else.
From the writers to the performers to the technicians and now on to the post production team.
Splendid is about a collaboration of talent that wants to make you laugh. No agendas, no hidden meanings.
If we get to make a series, I can promise we will carry on this spirit, and do our best to be very silly indeed.

Big Mistake - Festival news

2009-05-04T02:09:00.000-07:00

Hello!
Taking a quick breather from Splendid to let you know that the short film BIG MISTAKE has made it's first film festival of the year. the Provincetown International Film Festival. I'm really pleased about this, as this is my first non-genre film for a long time, and because straight drama is a much wider category with a huge amount of applications, making the selection very rewarding.
We were a lot more discerning with our festival applications for BIG MISTAKE, only applying to the more prestigious festivals, and we entered Provincetown festival because of its reputation as a larger festival with a big track record and a lot of influence in the industry.
Our selection also means that the film will compete in the HBO Audience Choice Awards!
Congratulations to cast and crew for the selection.

Splendid: Pilot - Production Diary Part 7.

2009-05-03T23:09:00.000-07:00

DAY SEVEN:

Weapons Shop, more Sound FX and Police Raid.

Continuing in Elstree studios, we had lots of material to get through. The schedule looked crazy with two full sketches and two studio-based scenes for the sketch we shot on Day three: Sound FX. First up was Weapons Shop by Piers Beckley. This sketch had caused me all sorts of anxiety. I could never quite grasp it like everyone else had in the writers meetings, but it stayed in the pilot schedule regardless, challenging me to work with it. On Day Six I entered the studio with a good nights sleep behind me and felt fresh and full of energy. I started to talk about Weapon Shop with the actor Stephen Evans and it suddenly clicked.
By the time we started rolling I knew we had something special and completely different from the rest.
It called me to approach the sketch in a completely different way from all the rest, with me being interactive with the character standing in front of the camera.
Some of the crew looked at me quizzically as I started shouting at "Norman", the main character, and a few even looked worried.
It was enormous fun, with each take becoming more and more crazy and funnier and funnier. I've never done anything quite like it before, and I'm incredibly excited about it.

After the adrenaline rush of Weapon Shop
we moved on to two scenes that will go at thefront of the Sound FX sketch.

They are both set in the seventies, and after a lot of
fun with costumes and a very loose run thru,
the actors improvised the sketches.

The final sketch of the day caused me a little bit of stress, because out of the all the sketches we were filming this one was my own. It's called Police Raid and I quickly found that whilst I was happy with how we were bringing it to life, I must confess that directing other people's sketches is much more stimulating and rewarding. For some reason it's more liberating as a director to have someone else's work that you can build upon with visual ideas and performance ideas with the actor, but with your own, you feel restricted in some way. Hard to explain, but it did convince me that should the series be commissioned I would not write any more sketches.

After saying all that, I was very happy with the results. The sketch breaks down into three scenes,and the actual 'police raid' itself was hugely fun. We had authentic riot gear and it was high paced, frenetic stuff. Again, very different from everything else we had shot.

It was a brilliant day. probably my favorite, as there was so much invention and improvisation. Within the structure of the scripts we had a lot of scope for ideas and inspiration, so I felt like I had been able to cut loose a little and really have fun.

The next day was our last day of the shooting block, incredible as that seemed. It felt odd. Time had passed so quickly, and yet we had achieved so much.

Our locations for Day 8 were exteriors, and all the forecasts predicted rain all day...

Splendid: Pilot - Production Diary Part 6.

2009-05-03T01:26:00.000-07:00

DAY SIX:
Goldfish & Badger facts

We moved into Elstree studios for Day Six. Kicking off with Richard Glover's GOLDFISH sketch.
It's a very clever concept and not something I can really write too much about, or it will spoil the punchline.
We did use a real goldfish, which we christened Phoebe. Being an animal nut, I was dead against causing the goldfish any distress. My attitude to animals in films is that they are not expendable for the sake of a shot. So, we shot around the goldfish as much as possible, before finally placing it into the shot and shooting all the footage we needed with the real fish.
I'm very happy to report that immediately after the shoot the fish was taken to a friend's goldfish pond, and Phoebe is alive and well, with lots of new friends.

Day Six was also interesting for me, as it was the first time my wife Rachel had ever been on one of my shoots. Events had always conspired in the past so that she never got the chance to come along. It was great for her to finally see exactly what went on, and for her to see me in action. Although, she very quickly and perceptively pointed out "From what I can see, you stand around giving orders whilst a lot of people run around doing the real work".

The second sketch we shot was BADGER FACTS. This sketch was many people's favorite, to the extent that even the cast had been fighting over who would play the two parts!
Jamie built a brilliant set, assisted by the crew, who had been working hard the previous day at Stanstead airport to create all the elements he had designed.
With the cast in place, we shot for about 3 hours on the set, and it was heartbreaking to have to strike the set after taking so long to put it together.

Eric Lampaert and Hayley-Jane Standing brilliantly play the demented Clara and Johnny Clarmtwist, and I think we have created one of the best Splendid sketches. It's a Splendid mix of silliness and ingenuity, with many elements that will hopefully make it a sketch you can watch again and again and find new things to laugh at.

Splendid: Pilot - Production Diary Part 5.

2009-05-02T02:02:00.000-07:00

DAY FIVE:

PILOTS

We travelled to Stanstead airport to begin work on one of my favorite sketches, Jason Arnopp's PILOTS.
I already knew that the cockpit set we were going to use needed a LOT of work, but I must admit to taking a large gulp when we arrived on Friday morning. As you can see above, the set was barely 50% complete and needed a lot of hard work to get it put together.
The set itself had been built, for a now defunct television series set aboard an airline, and all the components of the cockpit had been dissembled and stacked away in an aircraft hangar.
Jamie, the art director, had slaved over the cockpit the previous day and had figured out what went where, and where all the piece had been placed. it was our job, to physically put the cockpit together and make the electrics convincing too! it was quite a task.

Originally, we were to shoot another sketch that day, set in a nearby fuselage set, but I had already taken the sad decision to drop it the evening before, as Jamie had estimated we would probably spend the morning putting the cockpit together and I decided it would better to put all our energies into realizing the PILOTS sketch and not rush it.

The other knock-on effect of the extra work required on the cockpit was for our set to be filmed on Day Six, Badger Facts. Jamie and I split the team into two. Half of us worked on the cockpit, and the rest worked on the Badger facts set.

From 9am-1pm a group of us worked with hammers, screwdrivers,
pots of paint and electrics, to fix the cockpit together inside the hangar.
Even the actors picked up screwdrivers and chipped in with the work that needed doing. It was like an enormous mechano set!

Meanwhile, the other half of our team worked outside the hangar on the lawn, painting & paper-macheting our Badger Facts set dressing.
It was very surreal to see giant mushrooms being painted in the middle of Stanstead airport.

As lunchtime approached, and the cockpit started to take shape, we turned the monitor on and looked at the cockpit.
After all the hard work that everyone had put in the results were very very satisfying. It looked brilliant!

We filmed PILOTS all afternoon, and the actors really enjoyed playing the parts of Captain and First Officer inside a completely authentic Boeing 737 cockpit. In the end, we had to drag them out of there!

On reflection, it was a shame we had to drop a sketch. but it was always designed as a bonus, so it will live for another day. In all the days that we shot the Splendid pilot, this was the most satisfying day, because of the amount of hard work that everyone put in, and the incredible results we achieved.

Thank you to Jamie Bishop, art director, extraordinaire.

Splendid: Pilot - Production Diary Part 4.

2009-04-30T23:20:00.000-07:00

DAY FOUR
Abstract & Contemporary Dancer

Our second day at the farm, and another glorious day of sunshine and smiles.
We kicked off straight away with Piers Beckley's wonderful 'Abstract', a very different sketch for Splendid, but still very much Splendid in tone and feel. i had given this one a lot of thought as to how to shoot it, and was excited to unleash my ideas.
The script called for the sketch to take place in a number of locations, and we moved from sector to sector with the ease of a well-oiled machine. It all felt very right at this moment, with members of cast and crew relaxed and happy. I can't recall seeing a film unit looking more chilled.
By the time we reached the final sectors of filming, I was ready to unleash my visual ideas. The only thing stopping us now were the field of horses who took a great interest in what we were doing.

And then the madness began.
(as demonstrated by Read Donovan)
It felt good to be throwing ideas around, and they were coming from all directions too. one of the best visual ideas came from Dill, and it's a cracker!

The second part of the day mostly involved sheep. Errant sheep, at that.
I have never worked with such a difficult group of individuals before on my life!
I will always cherish the sight of the crew running around a large field trying to herd a flock of sheep for our sketch 'Contemporary Dancer'.
It was also time to unleash the infamous 'plane on a stick'. Our normally uber-professional and stoical focus-puller gave a visible giggle, I swear!

'Contemporary Dancer' is without doubt our sure-fire giggle-inducer.

Whilst all this was happening, unbeknown to the rest of the cast and crew, I had a phone call about the set for Day 5. We had some big problems. Jamie, our gallant art designer, had been working hard on our cockpit set and it wasn't ready, through no fault of his own. He had worked very hard all day and it was clearly going to take more than one person to put it all together. Somehow, we still managed to make a joke about it, even though my heart was sinking at the prospect of one of the best sketches being compromised.

Producer Johnny (Caution) and I sat, as the crew ran around the field chasing sheep, and figured out what to do...

Splendid: Pilot - Production Diary Part 3.

2009-04-30T00:41:00.001-07:00

DAY THREE:

'Sound Effects & Strange House Part 2'

We arrived at the farm location for day three and immediately people were blown away by the beauty before us.
Gorgeous landscapes and colours and the sky was an uninterrupted blue.
As we set up for our first shots you could feel everyone smiling. Maybe it was the sun and the sheer joy of being surrounded by such liberating countryside, but it also felt good to be doing something fun.

Our first shot was potentially the most difficult of the entire shoot and was a dangerous stunt that Richard Glover was going to perform himself.
Because of budget limitations we only had one shot at this stunt, so it had to be right.
We rehearsed and rehearsed to get the timing and the action just right and then we could put it off no longer.
The fake glass was brought out of the van and everyone held their breath as I shouted action.
SMASH! A roar of approval rang out when the shot was done and everyone shook hands and grinned like children. It was the perfect start to the day and gave everyone exactly the right lift to begin a long day of shooting.
We pressed on with Sarah Morgan's brilliant 'Sound Effects' sketch, with Richard Glover delivering a wonderful quirky performance that had everyone giggling. Not only that, Rich Swingle made it all look gorgeous and atmospheric.
our only problem that day was we were shooting in a barn and there were sheep giving birth behind us! However, given how silly and surreal our sketches were it all seemed very natural.

Later that day, we moved into a sea of yellow...

Strange House Part 2 is probably the most surreal and beautiful thing we shot
during our time making the Splendid pilot. It's a very abstract piece, but hopefully funny too!
It was hard work for everyone moving a load of blue furniture props into the middle of a field, so if it only features briefly in the shot may I request no-one kills me?
I must admit, watching Philip and Suzie painting a television, coffee table and other assorted furniture bright blue made me feel very strange. Had I finally lost the plot?

We packed down that day feeling we had accomplished some amazing footage and had a lot of laughs too.
Sitting around the farm listening to the actors playing their ukulele's, and seeing the crew enjoying the sun made me wish that it could go on forever.
It's hard work, of course, but sometimes it can also be perfectly lovely too.

I think, I found throughout the shoot, that the biggest thrill I got as a director was to improvise on the day and incorporate elements on the hoof.
On day 3 I clapped eyes on a fire engine and managed to construct an entire sequence for a sketch completely on the fly.
As we raced around the farm yard with the fire engine and its crew grinning like kids, I felt good....

Splendid: Pilot - Production Diary Part 2.

2009-04-29T08:40:00.000-07:00

DAY TWO:

We stayed in our suburban backdrop to film our next two sketches: Visiting Mother and Strange House.

The first sketch was extremely technical and took about 75% of the day to accomplish. I ended up drawing out a very complicated diagram so i didn't overlook any coverage. there were many elements needed to sell this more complicated sketch.
I would talk more about it, but it's a very unique little concept that would be ruined by talking about it prior to screening it, so for now: trust me. it's very cool. Or, perhaps the complete opposite.
Suffice to say there were practical special effects and a big make-up and costume job.
I also found myself approving toy aircraft's throughout the day, and displaying my first "difficult director" tendencies. But all in the name of art. I promise.

As you can see from the photo above, Hayley Jane Standing, who plays Doris, looks fab as an older housewife and we had a lot of fun watching her deliver a knock-out performance.

Later in the day came Strange House.

This sketch had been talked about for a long time between Richard and I, and I really wanted to make it special, visually. We put a lot of work into giving it a very different look and feel, and I'm very excited how it turned out. It's very surreal and very unusual.
It was the first sketch where I could lift myself away from the words and just play around with ideas and jump up and down and get excited.
It took a lot of work by Rich Swingle and myself, but it's a lovely sketch. And the best part of it, was that it was only Part 1 of the sketch. there was more to come.

So, Day 2 ended, with the promise of more fabulous weather to come on the next location - the farm.
Our biggest. most dangerous, and most expensive stunt awaited us, and we were very nervous about if we could pull it off.

Find out if we did, on the next installment!

Splendid: Pilot - Production Diary Part 1.

2009-04-29T01:55:00.001-07:00

DAY ONE:
Our first stop on the journey was North London suburbia.
Three sketches for our first day: Phone Call, Egg and It's Not Cheating.
Very different sketches and quite a challenge for day one, especially as Egg required interaction with a live chicken.

The morning was the usual slow ramp-up of the beginning of a shoot. Squeaking dollies, carpet scandals, and the crew gelling together.

The crew were a mixture of old faces and new faces, but they all bonded early-on, and we quickly became a very tight unit.

The biggest sketch that day was It's Not Cheating. It had two filming sectors and three actors. I think we ended up with something very silly and preposterous. In fact, when I said "CUT" after a good take I would describe something as being "silly" or "ridiculous", which was a positive response! Very odd, and it took the crew a while to get used to the idea that something being "preposterous" was actually a good thing!
Seemingly, the most difficult sketch was Egg. Working with a live chicken should have been a nightmare, but in actual fact the chicken was very well behaved, and it was our first real big laugh on the show. It would also actually turn out to be quite a challenge throughout the rest of the shoot not to giggle and ruin a take!

As always, with a shoot as complex as this, my head was full of questions and thoughts that related to all the sketches to come. Inevitably, all the laughing and bonding was going on around me, and I was in the middle with a furrowed brow. It's the way it is when you are a director, kind of removed from everyone else, and with half a foot in with the cast, and the other with the crew, and yet in neither.
An AD friend of mine once said that a Director is never really friends with anyone, but it's better to be focused and unpopular than everyone's chum and too distracted.

The day ended with 3 sketches in the can. And it was a little daunting to remind yourself that we were effectively doing 2 short films a day, across 7-8 locations! Quite a challenge. But one that the cast and crew seemed to relish...

Our goal, from Day One, was to create silly sketches that looked brilliant. I was determined to bring a film-style production value to our sketches to make them unique and gorgeous.
It's a trade-off at times between letting comedy breath and have a rhythm and not dampening that with too much setting-up, but already I could see that this would not be a problem. The performers never let up their energy and the crew worked fast to keep the freshness of every sketch alive.

It also helped that Richard Glover and Stephen Evans brought their ukuleles every day and we all worked to the gentle sounds of them singing songs as we worked. What a wonderful atmosphere.

I left that first day, thinking that Splendid had already found it's style, and my thoughts began turning to pyromania...

Splendid: Pilot. The full story.

2009-04-28T10:42:00.000-07:00

Hello.
Here I am in the photo to the left, on a mission, with actors Stephen Evans and Richard David Glover.

When you've done a load of shoots over the years, you get used to the highs and lows and general craziness.
One thing you don't normally get, is the feeling that you've you've got exactly what you've set out to achieve. Until now.
Eight days of filming, and sixteen sketches later, and I can honestly say we have got something pretty damn special in the bag.
The entire cast and crew worked incredibly hard to pull off some of the craziest and most difficult stuff that the ambitious scripts called for.
From rainforests to airline cockpits. Chickens, wizards, badgers, police riots and dogs wearing wigs. Just a sample of the silliness we brought to life.

I'm not the sort to crow about things, it's not my bag really, I prefer the work to speak for itself. But it would be utterly remiss of me to not report on the incredible work that my team did over the filming period, and beyond.

I'm going to write up a production diary with lots of behind-the-scenes snaps over the coming weeks, but for now, here are a few to start us off (courtesy of lovely runner Philip Higgs).

Here is Jamie Bishop. Our absolute hero of an art director.
His work creating sets and props was simply amazing. The man never slept!
Here he is painting a badger.

Here I am with Johnny "Caution" Harrison.
This man is a legend. He worked tirelessly to keep the shoot going, and held onto the purse-strings like a bulldog.
Behind him is the reason he looks so nervous. A large pane of glass...

Here I am giving people the idea I can actually read.
Sitting beside me is a true artist. Richard Swingle, DOP.
Rich works quietly and brilliantly. Switching between garish children's TV set to medieval cave to suburban nightmare, without breaking a sweat.

Here's Jamie again, to the right, with Dill, a man who holds everything together. An absolute star.
On the end is Siobhan our wonderful make-up artist, who is very possibly the most lovely and talented make-up artist I have ever worked with. And that little face in the middle is the extraordinary Suzie Irlam. Often on a shoot you can point your finger at people and say that none of it would be possible without them. She is one of those people. Suzie never stops making things happen. She is an incredible person and nearly half my age, so i hate her. But If she doesn't become a major producer one day, I'll be very surprised indeed.

And... we're off!

2009-04-17T22:58:00.000-07:00

Readers of this blog (Hello Mum), will know that I have been putting together a sketch show pilot with a lovely bunch of writers, performers and assorted creatives, called SPLENDID.
Well. The day is almost upon us to start filming it.
Sixteen sketches will be shot across eight days, that commence on Monday April 20.
I decided, early on, that each sketch should have a high production value, and feel like a mini-film unto itself in look and feel, and now I'm realizing just what that means!
Sixteen short films in eight days! That is surely the way to madness?
Each script has it's own identity and it's own location, and set of characters, requiring specific props, and costumes and even wigs (Ah, yes... wigs.)
Don't get me wrong, I'm not moaning about how busy I am. Far from it. I love the madness of it all.
The pre-production of Splendid has produced some of the most bizarre conversations I have ever had on the phone or in person. This last week I have been asked... "Does the chicken have to be alive?", "Will the man in the leotard actually be interacting with the sheep?", "Do you see the goldfish actually talking?".
I guess that's my fault for creating a silly sketch show.

I don't think you can analyse comedy too much. I think it's either funny or not. And, it's crucial to realise not everyone will find it funny, because "silly humour" is very specific. Hopefully, funny bones will be tickled and grown men and women will smirk and giggle as our flights of fantasy come to life.

I will most likely blog some more about the process of creating comedy, once this is all done. But for now, I'd like to offer a few initial impressions on it so far.

Rehearsing. Crikey. I have to say. I always advocate rehearsing before a shoot. But with comedy its absolutely essential.
When the performers act out a sketch you quickly see whether it works or not. Some sketches, that work well on the page become even better as the performers invest the characters with life and colour, and improvisations expand whats on the page and take the comedy to another level.
It's my job to make sure what we loved in the sketch in the first place makes it onto screen.
I can't wait!

So, for now, I'll be on my way. With the "live" chicken arriving on set at 10:00am on Monday, April 20.

Splendid - The first sketch: Yoga!

2009-04-07T09:29:00.000-07:00

Yoga - watch more funny videos

Splendid Update

2009-04-06T07:55:00.000-07:00

Hi.
We shot two sketches last week as a warm-up for the pilot of Splendid, our silly sketch show. Which you can read about here: SPLENDID

The pilot kicks off in two weeks, and we have almost everything in place now. locations, scripts, cast and our crew.

The two brand new Splendid sketches - YOGA and BABY TALK will be made available online in the next few days, so I'll be posting a link when they are ready.

It's all very very exciting, and tremendous fun. I can't recall a happier project that I've been involved with, just for the sheer energy and enthusiasm of everyone, but also the feeling that the material and the people we have on-board are all pretty special.

Plus. We get to see some very very silly things happen. Which, is worth it alone...

Caution - Johnny approaching.

2009-04-03T10:20:00.001-07:00

Hi.

Just a quickie to let you know that Johnny "Caution" Harrison has begun blogging, and brilliant he is too.
He's already putting me to shame with updates on our projects, and the world in general, through his ludicrous eyes.

I advise... CAUTION

Working with talent.

2009-03-27T02:04:00.000-07:00

Hi

Thank you for the kind comments I've been receiving about the commentary that Clare, Johnny and I recorded for Experiment. It's good to know that it was appreciated. We certainly enjoyed doing it, and it brought back a lot of good memories.
I will leave the video stream up for a few weeks longer to give people a chance to view it without rushing, and hopefully will do more of this kind of thing on future work.

I start filming our first production day of Splendid next week. A one-off day designed to get all the cast and crew together and shoot a few sketches. It's very exciting stuff, and we have a brilliant team of people. Some of whom I've worked with, and others who I'm looking forward to getting to know.
After this, we will be returning in April to shoot the main 8-day production block for our pilot show.
It's going to be a really fun project, with lots of silliness and I must say, a wealth of talent in front and behind the camera. From the writers through to the crew and the performers, and on to the post production team. I am staggered at the level of creativity and enthusiasm. It's so heartening to see genuine talent and love of creative work.

In the media industry, as I'm sure you are aware, there are many people who can talk the talk. Meetings, meetings, meetings. Air-kisses, ass-kisses. People who shout to be heard, when a whisper will do.
We have all experienced that, and as you get older and wiser it becomes less annoying, and just a little sad.
Instead, you embrace tightly the genuine talent. The people who quietly and confidently offer ideas and moments of brilliance that take your breath away.
When a writer makes you laugh until you cry.
When a performer gives you a look, that makes your stomach go funny.
When an editor shows you an idea you never thought of.
When a designer throws you the craziest idea you've ever heard.
Those are the moments you realize that all is well with the world, and why it's important to fight the good fight to get all these people heard and seen.

Experiment - 'Special Cut' Commentary Available.

2009-03-18T06:00:00.000-07:00

UPDATE 22 MARCH: COMMENTARY ONLINE NOW!

The exclusive commentary for the special version of Experiment is now available.
If you signed up for the "By invitation Screening" you will receive a password and web-link today.

The commentary features Producer - Clare Deacon, Writer - John Harrison, and Myself, the Director.

It's a lively and informative commentary, packed with anecdotes and behind the scenes gossip, as well as an insight into exactly what went into making the film.

The commentary is streamed with the video of the entire film, so you can follow the commentary track with the visuals in real-time.

If you haven't signed up yet, just mail me at: info@dan-turner.com and place "EXPERIMENT EXCLUSIVE" in the subject.

To accompany this event the original press pack is also available for download, which has more information about the people involved in the film, and how it all came together.

PRESS PACK

UPDATE: March 20.

Vimeo are currently experiencing technical difficulties. The file is now ready, but they are working to make it available. Will keep you posted.D.x

Experiment - The new cut

2009-03-10T11:33:00.000-07:00

As previously blogged, a new version of my first feature film, Experiment, with commentary, will be made available by invitation next week. If you're interested see the instructions in the previous post.
For now, however, I thought it might be nice to share a deleted scene, that was cut from the final version of Experiment.
The scene itself is set shortly after Anna takes refuge in a toilet, and is a further clue to what is actually happening to her.
The scene has a long troubled history, existing in many different forms, and it was eventually cut, for reasons of pace. It's a real shame really, because it is quite a nasty and disturbing little scene, that sets up the scenes to come.
So, here is... Scene 12: Toilet Nightmare.

Commentary exclusive!

2009-03-06T04:22:00.000-08:00

Since writing the previous blog about Experiment, I've been putting a few things in place to make a special commentary available.
Due to contractual issues I cannot make such an event publicly available, but I can make the commentary available online, streamed with a new cut of the film, by invitation.
The brand new cut of the film, with commentary will be available in the next few weeks, for a limited period.

Anyone interested in watching the film with the commentary track should send an email to me at info@dan-turner.com with the words 'EXPERIMENT EXCLUSIVE' in the subject of your email. In the next week, or so, you will get a web-link and a password, which you can use to access this exclusive feature.
I hope to be able to provide you with a fun and informative commentary that will hopefully be of help to other filmmakers, but mostly give an entertaining look at what making a film like Experiment is all about.
My favorite commentaries are not so much the back-slapping and waxing lyrical kind, but the warts-and-all style of commentaries. that's what you'll get. No holds barred!

Finally. Saturday night sees Look At Me playing at the DC Independent Film Festival. You can get details here.

Experiment - My first feature film

2009-02-28T02:03:00.000-08:00

As I've only been blogging for just over a year now, I often forget that many people don't know much about the film I made back in 2005 called EXPERIMENT. I'm often asked about it, and I perhaps don't give it full credit or recognition to how it changed my life.
I actually got a directing job this week because of the impact that the film had on someone I gave a copy to during the interview. It's made me reassess things, and also thought this might be a nice time to write up a little bit of background to how it all came about and a few anecdotes along the way...

2003.
The idea came to me in a sudden flash of imagery. A woman gets thrown out of the back of a van onto the streets of a foreign city. No name. No memory. Nothing. She cannot understand anyone or anything around her.
That was how it started.
I then sat and wrote a very rough first draft. It was series of disconnected thoughts that threw down some of the ideas, but lacked any kind of structure or direction. Of that draft, I'd say about 3 scenes found there way in some form into the final film. The woman being thrown onto the streets always remained through every draft.
My dear friend, and erstwhile colleague, John Harrison, came aboard and together we thrashed the story out over the course of six months. Bending and shaping the story , until it took a form that felt good.
It started out as a cold paranoid thriller, but we found ourselves being drawn into a core story about family and the nature of love. Could love overcome everything? If you wiped the memories of a married couple and put them in a foreign city, would they still feel something for each other? Would that bond be unbreakable?
Those core elements gave us the emotional center of the film. Micro-chips, human assassins, evil men, breathless chases... All good stuff. But the emotional center was the exciting bit.

At the end of 2003, with a mixture of public and private investment starting to become reality i decided to make the film independently.
I grew tired of hearing producers and industry types telling me EXPERIMENT was noncommercial. unfilmable. Too difficult. Too ambitious... blah blah blah.
Rather than go sit in the corner and be a good boy, I decided to get on and do it. My film. My mistakes. Or, my success. If i failed, then I only had myself to blame. but you only live once, right?

2004.

It was January 2004, i was lying awake in the small hours of the morning.
I had been travelling to Prague once every two weeks over a 3 month period. Meeting people, organising things, making plans.
And, as I lay there, it came to me. DO IT.
And so, I told Clare, the person who was to make it all happen in the UK, and I told David, the man who was to make it happen in Prague, that we were GO!

And then the madness began.

It was a frenzy of pre-production. With the Prague office sending us casting video tapes, location photos, forms to fill in. With our UK office organising the UK shoots, the UK casting and crewing, and me rehearsing with the actors. (I still have all the video footage). It was utterly bonkers.
We were still writing as well. John wrote a brand new scene the day before we left for Prague! it was one of the film's most disturbing and original scenes too, and thank God he did.

February 2004.
Most of the UK crew jumped aboard Easyjet and headed for a very cold and snowy Prague (continuity hell).
The rest of us travelled in a motorhome, towing a load of shooting kit.
We drove down to Dover, across to Calais, through Belgium/Holland and across the whole of Germany! Through the German/Czech border. After 18 hours in a motorhome I still grinned like a child when the border guard said "papers, please". it was like a cold war movie.

We settled in a small hotel in Praha 4, the industrial side of the city, and embarked on a crazy four week shoot.
The snow melted very quickly, thank goodness.
UK and Czech crews and production team worked smoothly and in perfect harmony. Whilst myself and my AD pulled our hair out on a daily basis, hyperventilating at behind-the-scenes nightmares.
To this day, most of the cast and crew have no idea that half-way through the shoot we came THAT close to being shut down by the Czech co-producers due to a silly cashflow problem.
I think it may be safe to say this now, as time has passed enough. But there was actually a threat to someones life that day. And I'm not joking! It was that serious.

We filmed long and hard. Working at breakneck speeds across the most amazing locations in Prague. Cast and crew gave everything to make the film come alive.
At one point in the middle of Prague, as my lead male was floating face down in a freezing cold river, I looked up. saw a bank of lights, emergency services, stunt crews and hundreds of tourists watching from a bridge. i realised that we were making a proper feature film. I think that night everybody felt the buzz.

Because we were shooting in HDCAM, the premium HD format of the time, we could see just how amazing it looked. All financial and logistical problems would always melt away when Gareth the DP would show me the monitor. Art was my life force during that period and kept me strong.
Just as well. On one very telling occasion, i woke up to find myself smacked against my hotel room door. My room-mate tells me I ran at the door full-pelt in the middle of the night, fast asleep. I guess that says it all.

April 2004.
Back in the UK. back to the calming assuring presence of producer Clare. I sat down in a pub and took one look at her and burst into tears. It had all got a bit too much, and she was the only one who really knew what had gone on. It was like someone pressing a release button.

I finally starting enjoying the shoot, as we shot at out "secret base" location. It was under my control now, and in one environment. It was dusty and oppressive in the underground corridors, but it was fun.

and then...

Months of pick-ups, editing, special FX, music composition, sound design, sound mixing, recutting took us into 2005...

2005.

May 2005 I found myself in Cannes for the first time. The film had been screened a few times already but i was astonished how everyone seemed so impressed that I had made a feature film.
Next stop. The Winnipeg International Film Festival.
I travelled to Canada by myself and it was all a bit daunting. I got off the plane and was greeted by a young man with a card with my name on it. From this point on, it was very surreal. I was treated like royalty, people wanted to talk to me, interview me, and then came one of the best moments of my life.
I walked to the cinema where Experiment was to be shown. A 10pm screening. perfect for the film.
I stood in the foyer and watched people queuing up to buy tickets for MY film. It was amazing.
When I went inside the auditorium I almost fell over. About 500 paying punters sitting waiting for my film. *gulp*
The film played and I sat watching the audience. First, the quiet anticipation. then the uncomfortable bits. BANG! a big jump and they all flew out of their seats. I loved that bit.
And then as the credits rolled, people applauded. loudly! Whistles and cheers. the whole thing.
I was then summoned onto the stage and took questions from the audience. Interesting and clever questions that made me think. My body clock was shot to bits, but I still tried to give the audience what I could.
As I left the cinema people came up to me and shook my hand and paid compliments. As i walked the streets back to the hotel someone shouted "great film dude".
I called my writing partner John, and tearfully told him every detail. he was sitting in his room at 3:am feeling part of it too. Wonderful memories...
The following day was the award ceremony. I sat there, not expecting anything, when my name was read out. I stood up and floated to the podium where I was handed the award. I looked out and saw only good will. No cynicism or envy. I made a short heartfelt speech and headed home on the crest of happiness.

September 2005.

After winning awards at more festivals I traveled to Los Angeles to attend two more festivals, but more importantly to take meetings to get the film sold.
There were six companies in total. All had seen the film, and all were seemingly very keen to get me to sign on the dotted line. One of them was so keen he took me to dinner, and kept pushing the contract across the table at me as I ate.
In the end, the best contract for the film was chosen (discretion prevents me from elaborating) and my trip was rounded off by winning two more awards.
I also made a good friend too. So, it was a good time.

The months that followed, saw different versions of the film be cut and dubbed and re-formatted and so on. And sales around the world began to take shape.
To date, the film has sold to around fifteen countries, playing on major International television channels and being sold on DVD.
In total, the film won 16 festival awards and has opened many doors for me.
Most importantly, it taught me so much about the whole process, from having an idea, to sitting opposite a man overlooking the Hollywood sign on the 48th floor.

It all seems surreal and strange to me now. like a dream. I still can't quite believe it happened.
I'm very very proud of it. I'm equally proud of those around me who helped make it happen, through talent and sheer belief in me. People like John Harrison, Clare Deacon, John Rand, Hugh Byrne, David Propper, Barry Sage, and Gareth Pritchard. There are plenty of others, and they all were absolutely vital.

I have not watched the film lately, but I intend to do so, and make a commentary with some of those involved. Mainly, for posterity.
I know there are things that could have been done differently, or better. More money, more time, more experience, and so on. Things that you always wish for.
But honestly? I think Experiment, stripped away from anecdotes and behind the scenes info, and looked at as just a film, is pretty darned good. There are things in that film that make me smile like a kid. Moments that make the hairs on the back of my neck stand up.
Experiment is my first feature film, and I will defend it with my last breath. I'm proud to have made it.

Screenings and updates.

2009-02-22T05:38:00.000-08:00

Hi.
Firstly, if you're in the Washington area in early March you can catch Look At Me at the DC Independent Film festival.
You can book tickets here. It looks to be shaping up to be a super festival, with the grand opening by Jude Law. I'm very excited to be part of it.

I'm also happy to have increased my presence on IMDB, a great resource for everything film related. It's usually the first port of call for research, so to be featured is superb.

Work is ramping up considerably on Splendid, our very exciting sketch show. Casting is complete, and we start filming in two months on the pilot that features our very best sketches. I'm usually accused of having a somewhat dark pre-occupation with my projects, so to find myself directing two vicars running around a field with a plate of glass will be something of a welcome departure. It's like having a licence to be silly, and calling it work.
Splendid news is breaking virtually every day now, as more and more falls into place. Check it out at SPLENDID!

The new camera goes out for its first gig next week and I'll be waving at the window like an over-protective mother. I know I have to let my baby go sometimes and earn her keep, but she's grown up so fast. There will be tears, I fear.

In other stuff, I'd like to point you to a great article on David Bishop's Blog. It's a brilliant piece, and worth saving and keeping for whenever you have a new set of notes for your beloved projects.

Elsewhere, I've not had a chance to watch any movies lately, which is a shame, as there are lots of movies coming out I'd like to see.
I continue to pile through the first season of CSI on DVD, and feel somewhat silly for now having watched this right from the start. It's truly extraordinary. I know everyone raves about gritty realistic shows like The Wire and The Shield, but for someone who sees life through Michael Mann's coloured filters, CSI is the ideal show for me. Style and content in perfect harmony. The lighting and photography in CSI is breathtaking as is the production design. Just gorgeous.
I'm off to the Story Engine festival this week, which is set to be a really cool writers festival. Darlington here we come....

Vote for Splendid!

2009-02-21T06:10:00.000-08:00

On the comedy website Funny Or Die you can now view the Splendid song "Cock and Balls". It's not work safe, but is lovely, nonetheless. If you have a moment, lease head over there and select FUNNY on the swingometer. Lets push this little sketch up the charts!

My baby...

2009-02-10T01:30:00.000-08:00

For those that wish to take a look at my baby, here she is.
Doesn't she look lovely?
She's sporting a sexy little 50mm prime lens there, and I think it suits her well.

I haven't got a name for her yet, so if anyone feels inspired by the sight of this little minx, do let me know.

Making it possible.

2009-02-08T03:00:00.000-08:00

This photo shows a Panasonic HVX200 coupled with a RedRock M2 Micro adaptor. In plain English that means affordable TRUE High definition filmmaking.
When I made EXPERIMENT back in 2004 HD-CAM was the only credible HD format. It was big, pricey, and not even close to 35mm, and was probably only making Super 16mm slightly nervous.
Things have come on in leaps and bounds, and a new HD camera is seemingly being released onto the market on a monthly basis. The domestic market labels everything HD to try and shift units, regardless of the truth behind the HD badge, and the professional market tries to distance itself a bit, by coming up with fancy terms like VIPER and GENESIS.
It's all bewildering, and the problem, as I see it, is that people get too hung up on the format and not the art of filmmaking itself.
When I made Experiment I was blessed by having a wonderful DP in Gareth Pritchard, who lit with such brilliance that many people, including industry professionals, had no idea it was HD, and assumed it was 35mm. The film went on to be used by VMI in London as a training tool for how to use HD!!
Gareth can light any format you give him. He's not concerned by the price of your camera body or the format you're recording to. He wants to know if the image he's giving you fits your vision. Like many good DP's he's an artist.

And that is the point. You can use any format and make it work if you have the right creative team and the right creative eye. the technology is largely irrelevant.
Why spend thousands hiring loads of kit? When frankly, you don't have to.
Obviously, when you have a Hollywood budget you have that luxury, but otherwise, in a time when HD formats are blurring there really is no need.

I'm very excited by all this. Ludicrously so.
High quality images are now in our grasp. Gone are the days when you had to spend thousands on kit hire or make do with dodgy kit and off-cuts of film reels to make shorts.
Now, armed with a great creative team and a decent idea, you can go out there and make something that looks terrific for a fraction of the price.
you can now take a digital format into dark situations or intensely bright ones. that's a big step forward and the creative freedom and artistic possibilities are mouth-watering.

It's all reinvigorated me as a filmmaker. I'm once again excited about lenses and lights and moods and colours and textures.

I have a kit just like the one pictured at the top of this blog post. (The latest version - HPX171)
Anyone who has seen BIG MISTAKE will know what it is capable of, but that's just the tip of the iceberg. There is much more to come. I am looking forward to using the kit this year on some really exciting projects.
I'd like to point you to a short film I recently came across by the filmmaker David Tree called AUTONOMY (please select the HD version). It is beautifully made and using the same kit, as listed above. I hope to be teaming with David soon, to see where we can go with this kit.

What's happening?

2009-01-31T02:27:00.000-08:00

Has it really been over a month since I last blogged here? That's amazing.
Let me do a wee bit of housekeeping before I launch into a flurry of words.

Firstly. The blog for 2009.
I've reflected on what worked and what didn't, in the various blogs I posted in my virgin year of blogging.
I think I'd like the blog, this year, to be a mixture of fun and info, and I'm going to dispense with the more educational aspects this time around. I think other resources cover the 'How To' far more eloquently and usefully than me, so I'm going to do news stuff about what I'm up to, and also more fun blogs about film and TV, and my continued love affair with them. Not just making stuff, but about being a fan too.
You'll often hear people in the business saying they never watch TV, like it's some kind of dark mark upon them. Tish and fibble, I say. It's about the joy of it too!

So. To this latest blog, and I'll kick things off for 2009 with an update on projects and happenings.

Firstly, there is SPLENDID.
A sketch show that I am working full-tilt on at the moment.
I've always wanted to be involved in a sketch show that contained the anarchy of Python and Spike Milligan. The idea of being silly. Well, for the last six months that is exactly what I've been doing.
I was joined on this adventure by comedy writer/performer Richard Glover, and we put together a diverse team of writers, including the ludicrously lovely Piers Beckley, the divine Sarah Louise Morgan, and the gorgeous Jason Arnopp, who would contribute sketches. We've been meeting each month and putting forward our sketches for the group to democratically vote on. We've got some brilliant stuff now, and in March we will shoot a pilot episode. I'll be posting more updates on SPLENDID in the coming months.

I am also about to go pre-production on a feature film called LIFEJACKET. Yes. You read that right. I'll be blogging more about this project in the months to come...

2009 will see BLOOD RED SKY move forward towards production. Reaction to Jason's last draft was incredible, and rightly so. It's a wonderful piece of work, and the kind of film I would queue up to watch myself, let alone make.

Speaking of Jason, I received a note yesterday to say that our short film LOOK AT ME was selected for the Washington DC Independent Festival playing in March. That's great news for us, and rather a shock, as it was pleasantly unexpected.

The short I completed in December 2008, BIG MISTAKE, has been submitted to a number of more carefully chosen film festivals, so fingers crossed. Industry reaction to it has been very positive, and the comments I have had have been particularly pleasing, because they have highlighted the very reasons I set out to make it. Namely, a short character-based piece with no gimmicks. I'm very pleased with the film indeed.

I'm keeping myself very busy this year, with my long-cherished pet project LEONARD AND THE CLOCKWORK UNIVERSE finally being committed to paper. If I had one film I had to make before I expire, that's the one!

Other stuff that's happening...
I'm delighted to be producing Lara Greenway's short film for Screen East. Head to her BLOG to get the lowdown on that one.

I'd also like to point you to Danny's Stack's BLOG. Danny is beginning his first short film adventure, and I'm certain it's going to be brilliant. I would recommend stopping by and supporting Danny.

It's been reported elsewhere, but I'd like to add my congratulations and support to David Lemon's Faintheart. Produced by the extraordinary force of nature that is Arvind Ethan David , this film demands our support. Films like Faintheart have to scream to be heard above the Hollywood avalanche. So listen very hard, there are gems like this to be seen!

Finally. Some small bites of loveliness.

I finally caught Wall-E the other week and it's made me look very silly for saying "I don't really like animation". Its a beautiful piece of work, and I'm delighted Pixar have broken out of their usual fare to offer something more esoteric and wistful. I have the Blu-ray and it is jaw-droppingly gorgeous.
On the flip side of that film, I have been stepping back in time to 1963 over the last month, as I join a party of fellow travelers on our mission to watch every episode of Doctor Who in order of transmission. Watching the pulsing screen of Black and White on my television for a few hours each week has become a wonderful little pleasure, as I discover these gems for the first time.

So, that's me.
Good luck for 2009!

Ta ta, for now.

2008-12-28T05:09:00.000-08:00

I am not going to be blogging now until February 2009, so wanted to wish everyone a wonderful new year.
I hope it is everything you want it to be.

Dan.x

BIG MISTAKE - PODCAST

2008-12-24T05:28:00.001-08:00

Hello, and Merry Christmas to readers and fellow bloggers!
I have never done one of these before, but in the spirit of this blog, which i originally set up to share thoughts, ideas and experiences of filmmaking, I have done a PODCAST commentary for the short film BIG MISTAKE which I hope you will find interesting.
I rather enjoyed doing it, even if recording a commentary for a 5 minute film does require you to think and talk very fast indeed!

You can download the PODCAST here: COMMENTARY
And it's best if you can play it alongside the movie itself, as I recorded it.

If it goes down well, then I might start work on some retrospective PODCASTS with some of the writers/actors etc from my previous work.

Happy Christmas!

BIG MISTAKE - A Case Study in development.

2008-12-20T08:44:00.000-08:00

I thought it might be useful to put together a case study of the new short film BIG MISTAKE, to demonstrate how a short film evolves and just how crucial the development process is.
Many filmmakers, myself included, have fallen into the trap of shooting without honing the script into the best script it can possibly be, and sometimes the temptation is to make a film for the sake of doing it, without finding the best script to make in the first place.

The first place to start is the idea, and how it works as a film. For this short I wanted a character based drama with a compelling and surprising concept at its heart.
After looking through a lot of scripts, that didn't quite fit what I had in mind, I returned to an idea I had a year ago that sprung from a friend who had sent an indiscreet text message to a friend in error.
I wrote the first draft of the short film, and called it HELLO. you can read it here: HELLO
You will notice that the central idea is very underdeveloped and the strength of the central concept is buried under a directionless structure with no real character dynamics.
I asked Jason Arnopp to script edit for me, and we talked and threw ideas around, and ultimately he helped me refine and improve the script into what i originally had intended. throughout this one month process he gently pushed me to keep improving and heightening the drama. He could see how there needed to be a lot at stake for the drama to pay off, and also how the structure needed to be like a joke, with a build up that really made the punchline very powerful. the final script can be viewed here: BIG MISTAKE
One fascinating point is the use of profanity. When I wrote HELLO, you will see it littered with curses, but Jason suggested I take them all out. I was initially resistant, as I thought it was 'authentic'. But when i took out all the profanity it made no difference at all! A useful note.

So. With the script all done, I auditioned for the 3 main roles. Lee, Clayton and Natalie.
I saw at least 6 people for each part. I really cannot emphasise how important casting is.
See as many as is practical, but also see variants of the character. Don't be blinkered by a 'type'. For example, I saw pretty and sweet blonde girls for Natalie, but when Keshia Watson read for Natalie, I suddenly saw how the drama would increase because Clayton was also black. Plus, Keshia just rocked the moment she opened her mouth.

With the parts cast I visited my locations. Took photos and established the geography of where the action would take place.
Again, I really recommend knowing your location. it will be almost a character and will add to the story.
The canal represented somewhere with constant noise of water. troubled water that eventually flows into a calm water. I wanted to use this metaphor for the story. Going from a jerky and disjointed feel to a calmer feel.
Similarly, the buildings look run down and decayed, which represents Lee's relationship. Small things, i agree. But it all helps to paint a picture.

Next up, was rehearsal.
ALWAYS rehearse. you will discover things in the words that you never realised. You and the actors will find ideas and sometimes issues that the written page cannot accurately convey.
Both you and the actors will also get to know each other better and it's essential to discover how people play together.
Check out a filmed rehearsal for the film here: REHEARSAL

And then shoot it!

But. Don't discount development when shooting either. Things occur on the day. ideas can spark off an event, or a word or even the weather! be open to it, and allow yourself to be flexible.
For example. We shot Keshia crying as a proper visual take, even though the script said we would only ever hear her. I figured we should try it as we were going to get her to cry anyway. And you know what? We ended up using it, because it was so good.

I hope this has been useful for anyone who has never been through this process.
As I have said. Development and making your script the best possible script it can be, is absolutely vital.

SHORT FILM PREMIERE - BIG MISTAKE.

2008-12-12T03:20:00.000-08:00

Hi

Today I am proud to present my new short film BIG MISTAKE.
It's a 5-minute drama, and for the first time, I'm premiering the film online.
Click here to go to my website and follow the link on the front page. I really hope you enjoy it!
Please do leave comments on what you thought, as feedback is an essential part of the process, and I really value it.
In the coming weeks I hope to give an insight into the development of this film, from concept to final edit, which I hope will be useful to anyone who is interested in the process of film-making. It's a real advertisement for the importance of development.

UPDATE: HIGH-DEFINITION VERSION ON-LINE: BIG MISTAKE HD

"Give me a valium... I'm getting the fear"

2008-12-09T01:45:00.000-08:00

In a few days I'm going to unleash my new short film Big Mistake.
And for the first time in a very long time, I am absolutely terrified.

You see, this short is 5 minutes of pure drama. No music. No effects. No genre elements. No nifty sound effects or fancy camera moves.
It's just a small group of actors and a self-contained story.
So, if it does not work, in any way, then it's all my fault!

That all sounds rather melodramatic, and detracts from some of the brilliant work the actors, the camera department and the editor have done. Not to mention the copious and clever notes that my erstwhile script editor gave me whilst I was writing it.

What I mean, is that those raw elements on screen have to count. I can't point and say '"Yeah, but look at the funky eyes on the wall" this time.

I really hope people like it. The short film genre is an interesting beast, because it's a difficult discipline to master, and to be honest, is not entirely relevant in a world of features and 30-60 minute dramas.
However, it's a terrific place to learn new tricks, hone your craft and meet and work with new people.

I'll look forward to seeing what people think. I'll just be over there, in the corner, with a blanket over my head.

What is directing?

2008-12-08T04:43:00.000-08:00

I often ask myself the question - Do people actually know what directing is?
According to critics, reviewers and film buffs, it often seems to be an all-encompassing term that rides roughshod over every other contributor to a film or TV show. As if the smallest fart has come from the directors deeply artistic mind, and his only.
Now. I am supposing at this point, you are thinking, "er... Dan, surely you have offloaded a full barrel into your lovely size-9 foot?"
Well. No.
Because I want to tell you what directing actually is.

I know for a fact that there are plenty of cinematographers I've met who secretly gnash their teeth when certain shots are praised to the hilt by film critics. Particularly, when those same shots are ones that the cinematographer has composed and lit with a cursory "yeah... nice" from the director, as he minces past the monitor on his mobile phone.

I also know for a fact that many editors have saved a film or show with their input on shots or sequences or pace ideas. They have to sit at home, crying into their gin, as the director is interviewed about their wonderful idea in a film, without so much as a mention.

Now. you could argue that a director hires all these people to do a brilliant job, and therefore it is HE/SHE who should indeed take the credit for his foresight in hiring these people.

It's true to a certain extent but having studied directors, I have seen there are many different types of director with different skills. here's a quick breakdown.

'The complete package' - He knows what lens to use. He's already storyboarded everything. He understands people. He can bring a story to life. He probably even has ideas on costumes, art, effects, music, sound design - everything.
Luc Besson is such a director.
Some creatives like this kind of all-knowing direction. Others prefer a director who lets them do as they please.

At the other end of the spectrum.

'The journeyman' (no names). His agent puts him up for the job. The producer has already hired everyone. He's hired because he can 'cover a story' with enough shots within a budget. He does what he's told. Nothing more nothing less. Hopefully, the DP, the editor, the art director, the composer etc etc will bring something special to the party to save this being the dull film it will surely be.

Yeah, Dan. great. But what does a director do?

Ok.
So. you've got a script. It needs converting into shots that will add up to bring the story to life.
First thing is to make sure you TELL the story. If someone slips a coin in someone's pocket and at some point in the story that coin has to mean something, then by God, you'd better make sure you get a close-up of that coin going into the pocket.
It's not rocket science.
But with things often shot out of sequence. Time pressures. Cost issues that limit the amount of shots you have... you have to be careful to make sure you get those crucial shots.

Now here's the trick.
You've then got to put your own spin on how these shots are composed and staged. Does the coin glint when it goes into the pocket? Is the speed at which it's put into the pocket important? If the moment is important, should you get a close-up of the guy with the coin to show what he's thinking? Do you want that to be a BIG moment or a lesser, more subtle one?
It's about loads of choices.
Later on down the line, you'll need to decide if the edit holds too long on the shot, or whether you can show the barest minimum to get the point across.
Then you'll want to know if there is any music to underscore what's happening.

And then even further down the line.... You may need to decide whether the whole coin issue is relevant enough to keep in the film, when you have to make cuts for pace/length.

So what's directing?
It's storytelling with every element available to you.
Then it's making choices as to what elements to use, and how to use them.

Which is why, every single project throws up new choices and new challenges, and means you will never ever really stop learning the craft of directing.

But, directing is also about working with great people, and giving them credit where it's due.

Big Mistake?

2008-12-02T08:49:00.000-08:00

I hope not!

You'll find out soon enough anyway. December 12 is the official launch for the short film, so watch this space for news of how to check it out.

With all that done now, I'll be able to get blogging again too - hooray!

...

2008-11-12T08:39:00.000-08:00

Stills from my new short film - Big Mistake

2008-11-10T03:38:00.001-08:00

">Despite it all, I continue to make films. If anything I'm
becoming even more determined and driven. The need
to be creative is no longer driven by the sole need to
please others, but by the desire from within. That
sounds awfully pretentious, but I mean that the passion
I feel for a piece of work when I'm standing on set
overcomes everything. I think now, more than ever,
I see the importance of staying focused and staying
in the game. If anyone today feels disenchanted,
or fed up with rejection, please hang in there.
Keep typing/shooting/cutting. You're meant to do this.

2008-10-31T06:10:00.000-07:00

Nearly naked Richard Glover!
(do you really need anything else in your life?)

We interrupt this eighties-fest to bring you an update...

2008-10-25T04:03:00.000-07:00

Allow me, if you will, to update you on my current film/TV related doings.
It's only a small update and won't take too much of your valuable time, I promise.

First. I am pleased to announce that I will be shooting a new short film in early November called BIG MISTAKE.
It's a 4 minute piece of drama hinged around a killer punchline. No funny stuff this time, like FX or weirdness. Should be interesting.
I've got a group of very talented young actors to work with, which is very inspiring.
It will be going back to my roots to do a powerful drama piece, which is all about character and with no trickery to hide behind!

Also, we have kicked off our comedy project, which saw it's first writers meeting this week. Fascinating to throw different personalities together into the pot. I can't wait to see what everyone comes up with!

Blood Red Sky is about to go through a brand new draft, which will take it closer to becoming as great as I believe it to be. It's very very close to being a really wonderful horror film, and I feel uber-confident it will get made next year.

The Eighties Part 2: Terrible and yet Brilliant - MIRACLE MILE.

2008-10-18T04:02:00.000-07:00

"Mike, I want you and Susie to make a list for me. People who we might want to bring along. Scientists, leaders, great minds. I want it in five minutes, okay? "

Okay. I lied. I said action stars next. But that's my prerogative. And the Blog police have been delayed by a fallen tree on the Internets.

So. this week, I bring you a real humdinger from the eighties.

The following film is by turns ludicrous, badly acted and scripted, has appalling production values, and yet, is wonderful. Especially accompanied with cold beer, a tube of Pringles and copious amounts of chocolate.

Why do I like it?
Well, the dialogue is utterly ridiculous, and the plots preposterous.

Dive in...

MIRACLE MILE:
Anthony 'ER' Edwards stars in this film about a man who answers a payphone call and finds out the world is about to end.

So far, so reasonable.
But...
How did Mr Edwards find himself outside a diner to answer said call at midnight? Well, a bird picks up his (still smoking) discarded cigarette butt, and takes it to it's nest.

Once in the nest, the cigarette ignites the twigs around it, starting a fire on the top of Mr Edwards' building. That fire gets out of hand, creates merry havoc with some electricity cables and causes an electrical failure, causing Mr Edwards to leave his bed, because he can no longer sleep, and go out for coffee.
Contrived? Nahhhh. We have barely scratched the surface.
Get this...

Anthony (I won't call him Tony, as I don't know him),
answers a ringing phone outside the diner he is about to enter.
A hysterical Mexican fellow, who claims to work for the Government, screams that Russian Missiles have been launched against the US, and the US is about to retaliate. The final punchline: We have 70 minutes left alive.

Now then. Anthony, has a tough time convincing all the folk in the diner that the phone call he just picked up in the payphone spelled out impending nuclear disaster. Well. It is a tough sell.
BUT. Luckily, there is a woman (in a power-suit) in the diner whose boyfriend used to work for the Government.
She demands to know what the man on the payphone said, and gets Anthony to repeat it "verbatim". Luckily, Anthony has a perfect memory, and is able to repeat the conversation "verbatim", together with (get ready) the secret military codes that the man babbled.
Well. power-suit woman KNOWS it must be true, because her boyfriend used to talk about security codes, and she remembers this one as being FATAL.

Personally. If I am ever asked to vote for my favorite plot contrivance. This must surely be the finest.

The film goes on in this fashion, and doesn't end well for Anthony, nor indeed, civilization.

Now, for me there is some fascinating things about this movie.
Firstly, it's worth saying that Miracle Mile was voted one of the top ten unmade screenplays by American Film magazine in 1983. Either the magazine was staffed by lunatics, or something very wrong happened when it went through it's final draft.
It is also worth saying that the actual concept is a real snapshot of eighties nuclear paranoia, and for anyone over 30, the final reel of the film will send a shiver down your spine.

I implore anyone with a lust for 'bad yet good' films to seek this out. I have a copy of the US version on DVD if anyone wants a glance.

Any film where the lead character runs into a gym and asks aloud "Does anyone here know how to fly a helicopter?" MUST be seen.

A couple of memorable quotes, to end:

"I was just wondering if you know if anyone here had a son named Chip?"

"It's 4am, All of the helicopter pilot bars are closed"

The Eighties Part 1: Rutger Hauer

2008-10-11T01:54:00.001-07:00

I'm forty next month, so I'm getting all nostalgic.
Over the next couple of months I'm going to do a few more fun Blog posts, which center on my love of films in the eighties. Action, sci-fi, horror, and comedy.

When I was in my early teens, home video had just taken off, and me and my Dad used to rent videos every week, sometimes even, every day.
We would use video magazines as our guide to what was good. But more often than not, if it promised ludicrous quantities of action and laser guns, I rented it.
It was a time of simply enjoying movies for kicks. Nothing cerebral, just the thrill of going to our little independent video store and looking for which new movies were out.

Blade Runner made a big impact on me. More than any other film, because it made me want to make films myself.
But primarily, one steely-eyed Dutch man called Rutger Hauer absolutely captivated me.
It's difficult to describe the effect he had on lads like me. I mean, for a while he was THE face of Guinness, in those gloriously over the top ads by Ridley Scott.

So, basically, anything Rutger appeared in, I rented it.
Now... this had it's pitfalls. Rutger, bless him, appeared in some absolutely awful films, as well as some really cool ones.

My own opinion is that the moment he stopped being a villain, and wanted to be the good guy, the rot set in.
I mean, Rutger is one evil dude right? That's what he does. Evil.

Anyway. Here are some Rutger picks from the eighties. (Excluding Blade Runner)

THE HITCHER:
Truly terrified the B'Jesus out of me.
It had that relentless 'Duel/Terminator' quality to it of, where the bad guy simply never stops.
And Rutger does quiet menace like no other man.
Eighties staple C. Thomas Howell was the good guy, and was bland as you like, but that kinda helped. it's Rutgers movie.

NIGHTHAWKS:

It's got Rutger Hauer and Stallone in it.

What? You need more convincing?

It's a tense thriller about terrorism, also starring Billie Dee Williams and Lindsey Wagner.
It was Rutger's first American film.

Still not sure?
Honestly. there's no pleasing some people...

WANTED DEAD OR ALIVE:

Rutger plays the good guy. But luckily he does it well in this one.
Somehow, Gene Simmons is also in this violent, wisecracking piece of nonsense, which is a remake of a Steve McQueen movie.
Rutger looks bloody cool, has a massive gun, and wins. Job done.

BLIND FURY:
The Tag line for this film is "He may be blind, but he don't need no dog".
And that pretty much sums it up.
It's bonkers. Violent. Silly. And by turns, hilarious and terrible.
But wait... it's directed by Philip Noyce (Jack Ryan Movies), and also stars eighties legend Terry (The Stepfather) O'Quinn. It's also got that woman from the eighties with the weird eyes. Meg Foster.

A BREED APART:
"The story of a mysterious recluse who is fiercely dedicated to the protection of a pair of nesting eagles, believed to be the last of a dying breed, and the young lady with whom he has a liason"
So now, Rutger was getting 'unconventional' with his movie choices.
I enjoyed this film, despite the bits where he got all soppy with Kathleen Turner.
But, by now I was beginning to worry about whether Rutger's agent had a grudge against him.

So, that's my highlights of Rutger.
Also worth checking LadyHawk, Wedlock, Flesh and Blood, and The Osterman Weekend.

Up next, I'll be checking out straight-to-video action stars of the eighties.

HICCUP

2008-10-08T12:30:00.000-07:00

Being a one-man non-stop filmmaking type fella can be tough sometimes.
Don't get me wrong, it's my bed, and I'll gladly get in, snuggle down, and pull the duvet over my head.
But... Just now and again you can get the odd kicker that makes you pause for thought.
One of the many projects I'm developing (Don't it sound utterly vapid when people say 'developing'?) took a little step back last week when some finance fell thru.
It's the kind of thing that several years ago would have sent me into a dark corner blubbing like a child. Instead, it felt weird, and in a way it actually nudged me on, to get underway on even more projects.
The thing about finance and films and all that stuff, is that it's all a bit tenuous. Like an enormous cooking pot awaiting ingredients via a supermarket delivery being brought to you by a unicorn pulling a carriage.
One does get a little more pragmatic with age, as opposed to the boundlessly blind optimism you have when you start out. You start to take a "let's see" approach.
There are arguments for both.
Blind optimism got me thru a whole feature film. But without pragmatism I'd probably be in a lunatic asylum about now.

It was amongst all this strange introspection that I got the opportunity to work with a new DP last week. Not only that, but also a new piece of camera kit I'd never used before.
The combination was highly potent.
Thoughts of tax credits and gap funding and skewing audiences made way for that good old wide-eyed look, followed by the child-like grin, at the monitor when a shot looked good.
I found myself invigorated at new possibilities with technologies, and stimulated by new ideas from new people.

Being the one-man band, it's sometimes easy to get caught up in the every element of production, but right now, I'm back to dreaming of filming a man swinging his wife over a cliff using a Super-8 camera.
Ah! I remember why now. I'm a director!

HOLLYWOOD: STOP IT RIGHT NOW!

2008-10-02T10:11:00.001-07:00

So, this week I read that someone is writing a sequel to Blade Runner. I also read someone is remaking Angel Heart. I then read that someone is making a prequel to John Carpenters' The Thing.
For the love of Marlon Brando. Will someone please stop these people from messing with my favorite films? Have they no original ideas?
This is literally crazy. In fact, I consider it clinically insane. I'm really sorry to anyone out there who is in fact, insane. I've got to say. I consider you normal next to these idiots.

If you know anyone who is planning on remaking or rehashing a classic film, it is not a crime to destroy them. Repeat. Newsflash. It's perfectly okay to put these people out of their misery. I don't mind how. If you want to be humane. Fine. If you want to go loopy with a handgun. Well... that seems reasonable to me too.

If that seems extreme. Well... It is.

These people are evil. They eat children, mug old ladies, and probably even watch pirate DVD's.
Yeah... it's THAT serious.

Apart from anything else. What kind of sense does it all make?

You get an old 'property' (they call these films properties, tuh!) and you figure... "the current generation won't know about this, so let's remake it and have another hit".
Duh!
If the current generation don't know it anyway, why bother? It ends up being on the same terms as all the other films. I mean, how are you going to market it?
"The new version of the film your Dad loved"

Films are like massive great balls of chance. You put all the elements together and sometimes it sticks and makes a brilliant piece of work. It's luck.
Blade Runner. Everyone hated making it. It was torture. Harrison Ford won't even talk about it. But it had so much style and atmosphere, something clicked.
Angel Heart. All style. Not much content really. But oh... what style it has! Just amazing. you can feel the sweaty, eerie, seductivness coming off the screen.

So, how the HELL are you going to remake it? Hmmmm?

Just Don't.

Now. Go to your room Hollywood. And don't come out again until you're ready to start behaving like a proper film industry. With ideas and imagination and all that good stuff.

News and updates.

2008-09-23T01:46:00.001-07:00

First up, LOOK AT ME, the short that Jason Arnopp wrote, and I directed, earlier this year has been selected at the International Horror and Sc-Fi Festival in Phoenix. It's a fabulous festival, extremely well-attended and always attracts some splendid guests there. We're very pleased about that I must say.
Also, the film has been selected at the Angel Moving Image festival which plays from Friday October 03, if anyone fancies popping along to Islington to take a gander.
I am also in the throes of final negotiations on distribution of the film too, which is really good news for a short film.
With this in mind, I'm also doing a new cut of the film with non-copyright music, but also taking advantage of the situation to do a new darker cut of the film with a completely new score and new edits (Yes, it's getting EVEN darker!).

In other news, I'm teaming with the ridiculously charming and talented Richard Glover on a brand new project, and we are looking for comedy writers.
Nothing too formal at this stage, just a little wave out there to all the people who 'make with the funny'. If you want to find out more email me directly on info@dan-turner.com

Finally, thank you to everyone who sent in a short script for me to take a look at over the last few months. I really enjoyed reading some mighty fine work, I must say.
At this stage, because of budget constraints I'm not able to use anything that was sent thus far, but I am very grateful for the submissions.

I hope to have some more news soon on the feature projects and more, so keep em peeled...

The hunt for the missing script

2008-09-16T08:54:00.000-07:00

Following on from my recent Blog about a feature film called PLAYBACK that I wrote with my Experiment writing partner John Harrison, I vowed to unearth this old script and dust it off for a rewrite.
You may recall that this script had attachments like Simon Callow & Frances Barber, and inspired the short film FOREPLAY, which you can download from this very page.

So. After blogging about PLAYBACK, I set about tracking it down. Not an easy task. it was written in 1996-7 and was saved to a floppy disk (remember them?).
After a complete search of the office and my house I was gutted to find that said script was nowhere to be found. No disk. No hardcopy.
I telephoned my co-writer, John, and he embarked on his own search.
It did not escape our amusement that the film's plot was all about the search for a missing item.
Three days later and I get a call from John. he's found the script in it's Draft 8 from. Hoorah!

He started reading bits to me, and it was proper weird.
I had no recollection of characters, events or plot twists. Bizarre.

But, I do know its something that we have to re-write and develop again.
With over ten years between me and Johnny writing this I'd like to think I've learned one or two things about film making and PLAYBACK will benefit as a result.

Johnny reminded me of when he and I took the script round to actors agents in London, because we could not afford the postage.
Picture Johnny and I, walking round central London in the baking heat of summer, sweating but determined. Each laden with about 12 scripts in Tesco carrier bags.
What did those agencies think?
Happy times...

David Lynch on 'watching movies on the iPhone'

2008-09-15T10:43:00.000-07:00

Convenience, blah blah blah.
Busy life, blah blah blah.
New technologies, blah blah blah.

WATCH THIS

David Lynch tells it like it is.

From the archives!

2008-09-11T03:21:00.000-07:00

On my current website you can view the most up-to-date shorts and excerpts from my work, so I thought it might be an idea to make available some of my older work for download.

I wish I could say that this stuff is so much lighter and less dark and seedy, but alas, no...

So. Here, ladies and gents, are two short films I made during the 1990's. Click on each title to download.

Waiting Game - Drama - 20 minutes
Starring Michelle Holmes
(Coronation Street, Goodnight Sweetheart, The Chase, Life Begins, Shameless)

Set in a suburban brothel. When one of the punters tells the management he has had a less than satisfactory experience, the five prostitutes have to uncover which one of them is the guilty party, or they're all out of a job.
As punters come and go throughout the evening, tensions reach boiling point between the prostitutes...

This short was my first attempt at a more straightforward drama, that was purely character-driven. Of course, it didn't quite turn out that way, and pretty soon we had a wonderful atmosphere on set of script and improvisation and 5 actresses who give amazing performances.
You can spot my love of David Lynch at times too in one of the characters.
I think I am most proud of this as a piece of no-nonsense drama.

Foreplay - Thriller - 12 minutes.
Starring Frances Barber
(Boudica, King Lear, The Ice House, Real Women)
Jack Deam
(Shameless, Clocking Off, Queer as Folk)
A young lad answers a newspaper ad for hired help at a mansion in the country. He arrives, to be interviewed by the mysterious Gloria, a vampish, playful woman with a secret.

This was my second short, after my first amateur effort, and my first opportunity to work with proper television actors!
Frances Barber is something of an acting institution and I will always remember working with her with enormous affection. She was so supportive and totally understood what I was trying to do. She also looks terrific!
Jack Deam was an upcoming actor. he'd just done Queer as Folk and went on to do be brilliant in Shameless and Clocking Off. He was a dream to work with, full of ideas and enthusiasm.

It's also worth mentioning that this short was actually an expanded scene from a feature film script I wrote called PLAYBACK, that Frances, Jack, and Simon Callow were all attached to! Somehow that never happened. It was all too soon and I was too inexperienced. But Foreplay acted as a kind of 'taster' for that film.
Playback is definitely something for the future!

I hope you like the two shorts, they allowed me to learn so much about filmmaking, and as such, I'm very proud of them. I'd love any feedback you might have!

Dan

Why Blog?

2008-09-04T05:06:00.000-07:00

People (those things you see walking around outside your house) often say to me "Why do you BLOG?", as if I'm committing some dark act, or being quite silly and must desist from it.

I Blog because I like to. But also because it's also about being part of an ever expanding family of fellow creatives who Blog in often weird and wonderful ways.
Writers especially are entertaining in their Blogs. Often their personalities shine through, and it's like having access to their creativity for free! (Hmmm, maybe I should paste together a load of Blogs and make a film?)

You also get to find out stuff you didn't know about, (and 'stuff' is good in my book), and also keep in touch with people and join in on discussions.

This all makes me sound like an old man waking up to some 'unknown youff thingy', but I think I'm just in awe of many of the Bloggers who I read on a daily basis.
I think producers could do a lot worse than go looking for new talent across the Blogiverse (I just made that up - am I youff now?)
And of course, with the Blogs of writers, you'll never find a more joyous celebration of grammar and syntax, in a world where people abbreviate, hyphenate and, for the love of God, misuse the humble apostrophe.

Here is a random selection of Blogs from the growing community of Bloggers who I have come to love and admire...

Danny Stack
Stuart Perry
Piers Beckley
Elinor D. Perry-Smith
Jon Peacey
Helen Smith
(TV's) James Moran
Jason Arnopp
Glenn Upsall
Dominic Carver
Martin Adams

If I missed anyone out, please write to me and abuse me soundly.

Dan

NEW SHOWREEL!

2008-08-30T07:55:00.000-07:00

There is a new version of my showreel available on my website!
Head on over www.dan-turner.com to check out what I'm calling 'Cheeky Dark'.

What's going on?

2008-08-30T00:43:00.000-07:00

This blog has become a series of musings and opinions of late, so I thought I'd bring it back to the reason I set it all up in the first place and talk about what I'm all about.

So, to kick off, I thought I'd run through all the projects I'm working on right now.
Some you may know about, some you may not. But this shows why sleep is the enemy!
I won't go into the status of the project too heavily as I'm a believer in fate...

BLOOD RED SKY.
Projects are like babies. You love them no matter how difficult they can be. Blood Red Sky probably screams the loudest in the project creche right now. It's precocious and demands my attention! The script is awesome, and with more months of development ahead stands to be even better. Quite a thought.
This film, 85 minutes of visceral horror, is one of those 'once in a lifetime' projects. I have no choice but to make it.

SPANKY.
Adapted from the notorious novel by Christopher Fowler, this film is a little different because I'm signed to direct it with a US company. It means I'm not involved in it's gestation so much, which does feel a little weird as I'm rather 'hands-on'. But once everything comes together with it I do feel it will be an incredible piece of work.

ACCIDENTAL SERIAL KILLER.
This is the film that when you describe it to people it makes their eyes light up and they smile. It just feels 'right'. As such it needs to be nurtured and developed carefully, and made with the right people,
with the right budget.
It will take a little longer to get right, because it's comedy.
And comedy is so subjective that it's journey may be a little
more arduous than other projects. But it will be worth it. Exciting
things lie ahead for this film.

MR LONELY.
Adapted from a novel by Britain's best loved comedian Eric Morcambe by... me! Hoorah!
It's a great big TV drama, set in the seventies, and is a bitter sweet tale of the destructive nature of the 15 minutes of fame. It's truly exciting because the public have never seen this side to Eric Morecambe before and I can't wait to bring it to them.

There is plenty more in various stages of development, and I intend to make a new short very soon to keep my directing skills honed during all this development (thank you for all the scripts sent thus far).

I'll be uploading a new version of my showreel in the next few days as well, which I'm really pleased with. Stay tuned!

MEDIAGUARDIAN EDINBURGH TV FESTIVAL REPORT- 'TV is short for television'.

2008-08-25T06:56:00.000-07:00

Isn't TV brilliant?
You switch on the box/screen in your front room, and moving images from every part of the world are transmitted right in front of you. Brilliant!
Do we ever stop to think just how mind-bogglingly brilliant that really is? Probably not.
I mean. Think about it for a moment. I mean.. it's really very bloody clever.
Instead we spend far too much time complaining about why there is never anything on that WE like.

This weekend I attended the MediaGuardian Edinburgh Television Festival. The slogan for the weekend was 'I LOVE TV', and pretty much set the tone.
Words like 'entertainment' and 'showbiz' were uttered. People talked of 'more drama', and controllers and heads of department moved around in their chairs with genuine passion and feeling.
You know what? That was so refreshing. Television of late has been saddled with an image of number-crunchers fulfilling demographic quotas and paranoid desk-jokeys chasing ratings and agonizing over audience appreciation indexes.
Instead, what I saw were television executives who were prepared to fight for their programme makers and intensely proud of their output.
At one point a foolish member of the audience described a TV show as "rubbish" during a Q&A session and was quickly made to look very foolish as department heads and controllers rounded on him in a genuinely moving show of solidarity. It felt good to see such passion. To see people in powerful positions of television stand up for a show made you feel that any future commission of your own would be in safe hands,

I make no secret of my love for television. British television.
Yes, it's fashionable to hold up US TV as the watermark of quality television, but for me, British TV is still the best.
Drama that reflects our society so perfectly like SKINS. Documentary that soars like LOST LAND OF THE JAGUAR. And the finest, most comprehensive news services in the world.
I feel proud to live in a country that can produce anything so fantastic.

My festival highlights then, in no order:

CONTROLLER INTERVIEWS:
Listening to each of these people made you realize just how exciting the coming years are going to be. Drama is coming back with a bang!

MCTAGGART LECTURE:
Peter Fincham provoked the longest applause the festival has seen for many many years.
I would imagine EVERYONE in that awesome hall felt proud to be part of the television industry. Entertainment is nothing to be scared of.

MASTERCLASSES;
Graham Linehan, Stephen Moffat, Brian Elsley all gave us a fascinating insight into the mind of the creative, and how a series works on television.

Of course, there were many other highlights, involving schmoozing, boozing and giggling.
Cheese sticks, breakaway thumbs, and free facial cream.
That's a whole other blog...