Anna Littler, one of our taller club members, has a made a film set in the 1940’s. Originally titled “Bombs & Blueberries” Anna eventually settled on the snappier title “Blitz & Bananas”. No idea what it’s about as Anna has kept this whole project a closely guarded secret from all of us (but my guess it has something to do with fish).
Anyway, Anna has decided to regale us with a dissertation on the making of this covert project of hers, explaining in lurid and explicit detail what she has learned from the process, how it has helped improve her understanding of filmmaking from beginning to end, how problems were overcome and resolved and which method of stress relief was the most effective (see also: “Coulson, Chris” and “punching bag”).
Anna’s lecture will take place this Tuesday at 8:00pm o’clock at the usual club meeting place (not to be confused with our unusual club meeting place). Please bring your own ears. Sleeping bags are optional.
Be there or be somewhere else.
**EDIT** – Anna has requested that everyone bring a pencil with a rubber although she wouldn’t divulge the reason for this. You will also need an eraser if you have one too. Yes, I’m scared now….
I didn’t sleep well on that Monday night as I found myself the sufferer of a very painful twinge in my neck, presumably from having to strain to look upwards for hours on end at the viewfinder on Barbara Darby Mk 1‘s camera, which was cranked to full height and Barbara herself was standing on a chair in order to operate it, putting her in the rare position of being taller than me for once! Suffice to say this lack of sleep coupled with my own inherent pessimism made me a rather fraught character heading into the second day of filming of our Coaching Evening film “The Amazing Healing Machine”.
Will day two be as productive as day one?
Despite this there was a small flicker of optimism dancing around inside of me after we had managed to get quite a bit of filming down on that first night and I had hopes of us being able to pick up where we left off and hopefully not have this session drag on as late as the first did. However, I never could have imagined that a good 90 plus minutes of our afternoon would be lost due to a simple red light bulb.
Sylvia subtly points out a problem with the red light bulb
For the uninitiated, part of the titular healing machine was a flashing red light bulb on the top which made for a great effect. But some members of the cast complained that the brightness and heat from the bulb was uncomfortable and distracting and therefore we needed to suppress the glare. A fairly straightforward problem to resolve, right? Wrong! Over the course of that 90 plus minutes we tried everything from plastic cups, to glasses to sit over the bulb, to wrapping it with toilet paper (!) to hiding behind other bits of equipment but elevated slightly so it could still be seen and none of these ideas worked. Some of the cast and crew were beginning to get impatient, so to say I was feeling the pressure much earlier into the session than I had envisioned is an understatement – though I guess that comes with the territory of being director and this was supposed to be a learning experience for all of us, including myself. But at least I didn’t hit anybody! Eventually thanks to Barbara Walker and my long suffering chauffeur and longer suffering father, a resolution was found and a glass tankard covered in black gaffer tape in the design of an old lantern (i.e a grid pattern) covered the bulb and dulled glare to the satisfaction of everyone. Phew!
All those years of wathcing "Blue Peter" finally paid off..
So we finally started shooting a bit later than I had hoped and things were going well enough until we ran into another problem – the curtain we were using wasn’t high enough and would expose our fraudulent stage set up. Only then did we learn that the frame supporting the curtain (which is the club’s green screen support frame) could go higher so we had to stop filming in order to adjust the height. Like the day before, people jumped right into the tick of the action to handle this task which also meant some making some alterations from the previous set up which meant the job took longer than we had hoped. But with everyone co-operating the curtain was finally set to the new height and filming recommenced – until the kids club next door started making noises! If ever there was an argument for birth control….
Sue puts on a brave face while Roarke's patience with the noisy kids next door is running out...
Now, I don’t want to embarrass the poor fellow but after a fairly smooth run of shooting we hit another roadblock when Val Pinkerton, who was playing the man with a stutter, kept forgetting his line. It was important he delivered the line as written because it was the feed for Mike Shaw’s next line but Val couldn’t get the line right. To paraphrase Eric Morecombe, he was saying pretty much the right words but not necessarily in the right order! We tried everything: making Val repeat the line over and over, leading man Roarke Alexander made a musical mantra out of the line, and we even tried the threat of physical violence but Val would trip up at the last moment. Eventually Roger Wheatley wrote the line on a piece of paper and held up for Val to read from and eventually he did it! Yay Val! I only bring this up, not to humiliate or belittle Val as I know acting is not for everyone, and Val is to be commended for volunteering, but because it was another instance where we all rallied round to put Val at ease and to coach him into delivering the line correctly which he did and earned a deserved round of applause afterwards. Before you ask, no I didn’t get angry with Val. How could I? He was not a pro actor and despite what should have been a huge problem, this was one of the more amusing moments of the shoot!
Just because I want to strangle you doesn't necessarily mean I am angry with you....
And lo it was but a while afterwards that we took the final shot and I was able to utter those immortal words “And that’s a wrap!” to weary applause before most of the cast and crew got their coats and bolted for the door! I jest of course but now came the tidying up and again, the set became a hive of activity as bodies were everywhere stacking chairs, coiling cables, dismantling camera tripods, the lights, the curtains and the frame, gaffer tape was removed from the floors and walls (and glass tankard) and everything was returned to normal. When it was all said and down and we had said our collective goodbyes to the people we had been locked away with for hours on end for two days, I took a moment to reflect on how this now empty Garden Rooms in which I stood in had just moments earlier been a film set bristling with energy and activity, where a group of people had come together for a common cause and in the process not only gained an education in filmmaking but integrated with fellow club members they had hitherto never conversed with.
Getting to know each other...
Until I see the captured footage I will remain apprehensive as to whether I successfully conveyed my requirements from the cast or not but from what little I can recall, they all seemed to understand and interpreted my ideas to the best of their abilities and I can honestly say that no-one let anybody down over the two days we spent together working on this film. I must confess to having some regrets in that I didn’t get the time or chance to learn more on the production side of things, i.e: setting up the cameras (white balancing, zebras, etc) and the lighting and sound, but others did benefit from this and I learned so much about directing a larger cast and crew, so we can safely say that the project has achieved its objective and I hope that this experience hasn’t put anyone off from wanting to make their own fictional film in the future.
Mike actually looks bigger in real life...
So, I once again offer my sincerest gratitude to everyone who gave up their time for the sake of this project and for their hard work and support over those two frosty days of January 23rd and 24th. And here is the roll call of all who participated or contributed to the project:
OVFM
Mike Shaw (Mr. Wiggins)
Basil Doody (Caretaker)
Val Pinkerton (“Man with Stutter”)
Richard Pugh (“Man with Twitch”)
Barbara Walker (“Woman with Limp”)
Roger Wheatley (“Dozing Man”)
Brenda Wheatley (“Dozing Man’s Wife”/Light bulb operator)
Ian Menage (Producer/”Coughing Man”/Behind The Scenes” Filming)
Barbara Darby (Cameras/Set Design/Props)
John Bunce (Cameras/Healing Machine)
Bob Wyeth (Cameras/Healing Machine)
John Ransley (Lights/Sound)
Sue Ward (Poster/Clapperboard/Notes and Continuity/Set Design)
Tony Relph (Chauffeur/Notes and Continuity/General duties)
Liz Carter (St. Augustine’s Rooms Booking Officer)
In closing I would just like to make one final but what I feel is a crucial point about this project. All too often this has been referred to as “Lee’s film” or “Lee and Ian’s film”. This is incorrect. It is an OVFM film and thus is the film of everyone who contributed. Ian and myself may have been the major driving forces behind it but ultimately this is a group project and I don’t anyone to forget this fact, so everyone feel free to say “This is a film I made” with confidence and conviction.
Working together
Once again a huge thanks to everyone involved and I’m now off a very long lie down….
This week’s meeting falls on February 14th which is also known as Valentine’s Day, a cynical exploitation by the huge corporate entities to make money from the easily influenced by brainwashing them into believing this day is a celebration of the fabled and fictitious sentiment called “love” whilst taking huge enjoyment by rubbing it in to us lonely single types sitting in the shadows of our companion free solitude. Bitter? Moi?
Anyway, to mark this occasion the Legion Of Doom have decided to make the theme of the films for this meeting “Past love”. Now, this doesn’t necessarily have to be about a person from one’s history but could also be a hobby or pet or piece of music or anything that once had a profound or positive effect on your life which, for one reason or another, has slipped by the wayside, walked out the door or was accidentally flushed it down the toilet, as the years have passed.
So, those of you willing (or bold enough) to share with us the romantic secrets of your past are invited to bring your films on Tuesday and see if you can elicit and “Ahh” (or at worst a “What The….?”) from your friends and peers at OVFM.
If you are likely to be submitting a film this week then please reply to this post below to give us an idea of how many films to prepare for, while the rest of you, don’t forget to bring your hankies just in case (or a bucket as is your wont….)
And a bonus point to anyone who can name the actress in the banner pic!!
The annual OVFM Top 10 Competition for 2012 is due to start soon and once again it will be contested over five rounds across the year. In the 2011 competition we had 24 entries – can we top that number this year?
Competition organiser Brenda Wheatley has released the line-ups for each round so please check to see in which group your name is included:
Round 1 (22nd May)
Bob Wyeth
Lee Relph
Mike Turner
Frank Hyde
Jane Oliver
Gwen Whippy
Bob Vine
Mike Graham
Ian Menage
Ed Jarnot
Sam Brown
Cherie Hamlet-Smith
Round 2 ( July 17th)
Peter Mitchell
Val Pinkerton
John Bunce
Hugh Darrington
Colin Jones
David Laker
Mo & Peter Lodge
Annabelle Lancaster
Charlie & Nellie Caseley
Barbara Darby
Chris Coulson
Lizzie Mathews
Round 3 (August 28th)
Barbara Walker
Alan Whippy
Reg Lancaster
Freddy Beard
Brenda & Roger Wheatley
Peter Llewllyn Smith
Jess & Richard Pugh
Barbara J. Darby
Simon Earwicker
Harold & Maisie Trill
Jennie Jarnot
Mike & Jo Coad
Round 4 (September 25th)
Christine Collins
Brian Pfeiffer
Mike Shaw
Craig Robinson
Peter Reilly
Ann & John Epton
John Ransley
John Alford
Tony Faller
Pat Palmer
Anna Littler
Ann Perrin & Alan Gage
Round 5 (October 23rd)
Andy & Marian Watson
Jim Morton Robertson
Barbara Walker
Mike Bishop
Andy Webb
Basil Doody
Sylvia Snipp
Ray Hewitt
Derek Allen
Alan Smith
Malcolm Goodwin
Susan Ward
Len Lawrence
If you don’t have your film ready by the given date please let Brenda know so that she can try to find someone else to fill the gap in the evening. If your film is ready early please bring it along on a top ten night and if there is time we will show it.
If you miss your given round you can bring your film along to a later one, but it will only be shown after those drawn for that round, if there is time.
Be sure to check back as the competition progresses.
This is an adaptation of an article in the North Thames Region newsletter written by Arthur Gatcum, a former policeman.
Under the ‘Copyright, Designs and Patents Act 1988 (Freedom of Panorama)’ the taking of photographs or video footage of buildings, sculptures and other art in public places is generally permitted without infringing any copyrights. http://en.wikipedia.org/wiki/Freedom_of_panorama
The Police – Members of the public and the media do not need a permit to film or photograph in public places, and police have no power to stop them filming or photographing incidents or police personnel.
The use of a tripod can attract the attention of police for two reasons:
You could be obstructing the footway and
They consider you a professional and in certain areas a license is required to film.
For those in the Bromley area you definitely need prior permission to film in The Glades (0208 313 9292) or Orpington Walnuts (01689 832923).
Airports – Amateurs must gain consent from the press office at the airport by written application and signing the airport’s Terms and Conditions. You will need Public Limited Liability Insurance worth £5 million. www.baa.com
Royal parks – Obtain permission to film, shoot stills or use a tripod on 0200 061 2110 or email film@royalparks.gsi.gov.uk
National Trust – There are restrictions at some properties, especially for tripods, so always check in advance with the property concerned www.nationaltrust.org.uk
London Underground – They do have a permit for non professionals. Crew size: five or less with handheld equipment only. Cost £50 incl.VAT. Films must not be placed on the Internet. You also need insurance. www.tfl.gov.uk/filming
Cathedrals – Permits are required for tripod users. Contact cathedral wardens in writing or go to www.cathedralsplus.org.uk
I can’t vouch for all the phone numbers, and you might need to search around the web sites, but on the whole I hope you find the information useful.
A personal account of the OVFM Coaching Evenings film project
By
Lee Relph
Part One – A Hard Day’s Night
On January 23rd 2012, members of OVFM descended upon the Garden Rooms at St Augustine’s Church, Petts Wood to make a short film entitled “The Amazing Healing Machine” as a part of the Coaching Evenings Project. This is a look at what happened during the two days of the film’s production from the perspective of the only person gullible enough and insane enough to put himself forward for the role of director:
It looks so much easier in the movies….
(click on thumbails for larger picture)
As many of you should already be aware the Coaching Evenings Project was the brainchild of Ian Menage in conjunction with the OVFM Committee (aka The Legion Of Doom), with the aim to teach us noobs and ignorami a thing or two about film making then we go on and make a short film ourselves with this new found knowledge. The script came from an outline submitted by Colin Jones and transformed by yours truly. Because I write in such a way that I envisage everything as a finished product in my head then transcribe that into words on paper/computer screen, I was therefore found myself to be somewhat parochial and nominated myself as director for this film which remarkably went uncontested by the rest of the group who had already taken the cushier production jobs for themselves.
Working hard as usual….
I won’t lie to you: I was nervous heading into that first day and hadn’t slept much the night before. This was beyond the usual reservations of whether people would turn up or forget to bring their equipment or if something drastic went wrong. It had been almost two years since I made my multi-award winning opus “Writers Block” and I was having serious doubts as to whether I could pull off the directing job a second time (the two other films I have made since, “The Miracle” and “Looking For Dave”, were much smaller affairs I can’t consider them to be in the same league). It didn’t occur to me at the time but a few days later it hit me that the number of cast members alone for this film was greater than the entire cast and crew combined for “Writers Block”. I’m not entirely sure why I was so oblivious to this fact but it was probably just as well because I may have crumbled under the pressure had I thought about the fact that so many people were looking to me for guidance and order but the reality probably was I simply just didn’t have time to think about it.
Shall I tell him he’s about to be clobbered by the boom mic?
We began the day with an empty room needing to be turned into a workable film set and in a true community spirit, people you wouldn’t normally see fraternising together during club tea breaks bandied together to help set the workspace up, be it setting up the cameras, lights, curtains, blocking out windows or putting out chairs. Eventually everything was set up and it was time for rehearsals after we stopped for a quick tea break. Our leading man Roarke Alexander led the charge for the cast for a quick read through of the script. Not only was it interesting to see the script come to life but it also revealed just who hadn’t learned their lines!
Did they have iPads in the1940’s?
I am ashamed to admit that I began to fear that this might not come together as I envisioned it and if I had sufficient directorial clout to guide our mostly non-professional cast through the forest of hardship to the promised land of a watchable film. Naturally I hid my concerns but the turning point came when we had a few minutes to get the first shots which were of the poster on the wall outside. Somehow, just saying the magic words “Action”, even with just four of us outside in the freezing cold dusky forecourt, I felt a lot of the anxieties ebb away, as though putting the proverbial director’s hat on for the first time in a long while acted as a sedative for the nerves and doubts swilling around inside of me. After a few takes I felt a very small surge of confidence but I knew at the same time I couldn’t get cocky as I have found in the past that whenever I get supremely confident or excited something it all goes horribly wrong, which probably explains my permanently dour demeanour. After all, a pessimist is never disappointed.
Roarke Alexander looks on helplessly while John Ransley has to turn away…
It was starting to get late but around 6:00pm we finally got down to the main bulk of filming for this first day following the arrival of our second guest performer, Sue Ward’s daughter Fiona, who brought her own baby bump with her! I learned the next day that Fiona was actually a little under the weather as well as heavily pregnant which made me feel guilty as we overran when trying to set up the final shot with her character, something which was proving to be a source of frustration for me but I knew I couldn’t let it defeat me since I was the man in charge. But we got there in the end al though it is kind of ironic that with all the filmmakers in the room it was Roarke who came up with the eventual solution! I have to say that Fiona did very well in her role; I don’t know the extent of her acting experience prior to this but she delivered everything I asked from her and did so with good spirits despite her discomfort.
Better get a mop in case my waters break!!
Having run so long we had to rush a little to get the final scene of the night shot which involved Mike Shaw and Basil Doody. The sense of relief from the remainder of the cast was palpable as they were excused and couldn’t wait to get their coats and head for home, which was a little disparaging as we still trying to film! I couldn’t really blame them though as I was running on auto pilot by this point myself but the onus was on my shoulders so I had to soldier on and with everyone’s cooperation we got the shot done fairly quickly and the first day of filming was brought to a close.
Hurry up and take that down so we can get out of here!
It was almost 9:00pm before we shut up shop that night but it felt much later. Six hours may not seem like a long working day by being inside a room with artificial and manipulated lighting, with little fresh air (remember it was freezing outside) and you’re working non-stop barely getting to sit down, time becomes distorted, almost a redundant concept, something I am sure most of us have experienced at one time or another on a film shoot of this nature. I can’t really lament this since it comes with the territory and is a by product of the director’s responsibility of the director to keep everything moving. No wonder nobody else volunteered for the role!
We’re all right! We’ve got the cushy jobs!!
So that was the first day over with. Although I didn’t feel it myself, I did receive some kind words from a few people remarking on how much we got done that day. Unfortunately I couldn’t see past the length of time spent on the setting up of the shots and the general dwindling of energy towards the end so I had to take their word for it. There was a small part of me that was relieved it was over for the day but this was quickly replaced with the dread of the realisation that it was not over and we had to come back to do it all again the next day….
You’re coming back tomorrow whether you like it or not!!
Remember last year when Reg “Bomber” Lancaster presented us with a selection of films from BIAFF which we then judged and compared our scores with those of the official judges? You don’t? Ah, I can’t really blame you for wiping it from your memories.
Well, for this week’s club meeting young Reginald and his long suffering assistant Lady Annabelle have decided to subject us to a second round of already judged films to be judged again. This time the selection comes from the UK submissions for the annual UNICA (Union internationale du cinéma) film competition. As the name suggests (although someone should explain to the French how acronyms work), the UNICA festival is a film competition held in a different country each year with an international line-up of entries. The 2012 competition – the 74th – will be held in Ruse which, unless it has been misplaced or has left home, is in Bulgaria and will run from August 25th to September 1st. If you are interested then more info can be found HERE.
The films Reg will subject to OVFM scrutiny have been awarded Diploma, Bronze, Silver or Gold prizes and our mission, should we choose to accept it, is to decide which film won which award. Sounds easy right? Well, as I understand it, Reg has promised to set fire to anyone who gets them wrong so I guess we’ll have to take this seriously after all.
Now, I usually post a link to a website for further information but if I do that someone of you *might* be tempted to take a sneak peek at the results of the previous years ahead of this week’s meeting. I’m not saying any of you *would* but some of you *might*.
So, that’s what is in store for us on Tuesday. See you there?
As the icy grip of the winter chill maintains its firm hold on us mere mortals we here at OVFM have the perfect antidote – a look back at the recent holidays our members enjoyed in sunnier climes.
Holiday films have a tendency to be dull, listless and often unable to fully represent the atmosphere and magic of the location – in the wrong hands of course. We here at OVFM however know all the tricks and thus can transport you into the middle of the tropical sun, the snowy mountains or the vibrant green countryside, allowing you to feel the heat of the Mediterranean sun, smell the aromas of an Asian food stall and submit to the passion and energy of a Latin carnival – a small example of just some of the various adventures our members have captured on film during their visits in the name of relaxation and sightseeing.
Or it might just be shots of old people in ill-fitting shorts and tops wandering around aimlessly in some crowded foreign street being laughed at by the locals because our country’s economy is in a worse state than Keith Richards’s liver!
As you may recall during the recent features on Anna Littler’s film “Blitz & Bananas”, we brought you news that the premiere was being organised for early 2012. Well, we can now confirm that the premiere will take place on Sunday April 1st at the Churchill Theatre in Bromley. And no, this is not an April Fool’s joke!
Don’t just take our word for it – check out this advertisement in the current Bromley Arts Council Events Schedule for 2012:
The film starts at 2.30pm, however we are also organising a Wartime Experience! (Details below.) So guests can come from 1.30 pm to join in the 1940s fun! Come in vintage clothing or your party dress!
TICKETS – Buy and Sell!
Tickets are available from the Churchill theatre but please note they charge a booking fee per ticket, plus transaction fee IF you book on their website or by phone, but there are no fees if you go to the booking office.
However, we can also sell as many tickets as we want – without booking fees! Our plan is to give small batches of tickets to individuals to sell to their family and friends etc.
So if you would be willing to take 10 or 20 etc. to try to sell (or any number large or small!), that would be really useful and it will save your friends paying the extra fees! As the seats are numbered, it’s to your advantage to buy early to get good seats!
Let me know your thoughts or requirements by email and we’ll make arrangements. You don’t need to pay for them upfront – we will keep a record and payment can be made later. We’ll provide an info sheet to ticket sellers so that they have all the info needed.
Also I know that some of you have spent many days helping and/or have large families involved, so please do not feel embarrassed to email me if you would prefer a free ticket.
TICKET DEALS
Tickets are: Adults £10. Child (U16) £5.
Family tickets: 2 adults & 2 children (£26)
Group deal – buy 10 tickets and the 11th is free.
We plan to have vintage cars, sets, costumes and props with us and hopefully some surprises – to make the afternoon an educational wartime experience for the young – or a trip down memory lane for the young at heart!
*STOP PRESS*– Due to overwhelming demand for tickets, there will be a second screening for the film to start at 5:30pm! More news to follow soon!
Anna can be contacted via e-mail at annahopelittler@yahoo.co.uk or anna@blitzandbananas.com or by telephone on 01689 862 825. And of course OVFM club members can always grab Anna at our weekly club meetings. Further details on the project can be found on the official website HERE.
This promises to be a big event for Anna, OVFM and everyone who took part in this project so show your support,tell your friends and family and get your tickets quick before they are sold out!
I trust you’ve all managed to remain relatively unscathed by the Yuletide celebrations but that is now in the past and here at OVFM it’s business as usual. And what better way to kick of the new year than by finishing up last year’s Top 10 competition.
It’s been a hard fought contest, the likes we have not seen since John Prescott and Eric Pickles both spotted the last roast chicken in the House of Commons canteen. The ten films we will see again during this week’s meeting scored the highest points by you, the OVFM faithful, during the qualifying rounds. We have an eclectic mix of films all vying for the esteemed pole position, which has been claimed by such club luminaries as Mike Shaw, a Barbara Darby, Hugh Darrington and (surprise surprise) Reg Lancaster (whose only remaining contest he has yet to win is Miss OVFM although I believe he is making a concerted effort this year!). The full list of winners can be found HERE.
To keep things interesting for us (or maybe an act of pure sadism) our resident competition organiser Brenda Wheatley will not be releasing the competing film titles beforehand – although the finalists themselves have been notified to give them a chance to fix any issues raised during the feedback sessions at the first screening (although I can confirm that at least one finalist wasn’t able to amened my…er, his film so you’ll have to make do with the original version warts and all and be done with it).
Also this meeting is the last date for submitting your entry forms to the Annual Competition. More details, including a downloadable entry form, are now up HERE.
Good luck to the ten finalists and see you all on Tuesday!
