Hello anyone who might be reading this.
Sorry I haven't had a moment to get the diary entries from August to December up here.
It's exactly five years to the day - possibly to the hour - that we thought of the idea for the film, so strikes me as a delightfully auspicious moment to go public about our little project.
The last ever day filming Crude didn't start too well for poor Lizzie as the hire car she picked up yesterday developed a flat tyre and she spent half the night organising tow trucks. Then had to get up at 5.30am to pick me and new soundman Ben up to drive to Bedford for the result of Piers's three-year battle to get planning permission for his latest windfarm.
After three very long days and nights bashing together all the ideas into a coherent script, we stocked up on pastries and got everyone into the same room for a read-through. Mark was very convincing as the geeky teenage know-it-all but Emily wasn't so keen on her slightly wimpy teenage girl (maybe should swop those roles over. can't have the girl being feeble).
Rain, Cameras, Action....
Photograph: Charlotte Rushton
Just finished two weeks script writing with David and Emily . Nearly killed me. Brain imploded. Far too many great ideas and no system for marshalling them.
McLibel is on at a festival in Tel Aviv soon, so I did an interview for some Israeli radio station or something today. Made my best effort to be interesting in case The Boy happens to hear it.
Suddenly remembered Emily James as I was washing up for the first time in three weeks this morning. She's an indie filmmaker very much from the Spanner mould. Her film "The Luckiest Nut In the World " famously used animated singing peanuts to discuss trade liberalisation.
Am totally stuck on the animation script, so decided to try to do something - anything - positive and cleaned up three years of cat shit from my roof. Then started clearing the overgrown ivy with the thought of planting some veg up there. But as soon as the ivy went I could see a bloody great big crack in the wall.
Not been going too well with the animation. There seems to be a fundamental mismatch between the Spanner Films approach - "don't know how long it is, don't know how much cash we have, don't know what style we like, what do you all reckon?" - and the professionals at Passion who work with such things as scripts, storyboards, deadlines and budgets.