THE RIVER GOD MASK
Filming on a canal boat was never going to be easy and even the slowest amongst us soon realized why they are called Narrowboats. Where was all the kit going to go, how would we manage to light the scenes, who would we have to leave on dry land when we really needed them on set, and in what way could we introduce variety into the camera set-ups to avoid the film looking predictable? Add to that the fact that the Marina was sandwiched between a main road and the metropolitan line, on the flight path to one of London’s many airports, and was overflowing with boats that were either fit enough to motor around all day or were under the hammer and drill as part of a rigorous maintenance programme. Every film shoot comes with constraints and sometimes I wonder how we managed to get any filming done at all.
The mention of a film shoot inevitably conjures up images of hanging around waiting, as if characters in a Beckett play, and these photos certainly capture this aspect of the production. What is harder to show visually is the long hours, the commitment and the professionalism of all involved, and this album is a tribute to everyone who made the film happen and lost weight in the process. The finished film is never an accurate reflection of what is was like on the shoot, so it is great that these photos help recall the spirit of the production and depict some of the key moments of our week together. A big thanks to Alan and others for all the wonderful photographs.
Simon Woolf (Director)