We are now into the solid work of post production. Our editor, Paul Maxwell, is beavering away at Images & Sound putting together a creative assembly. It’s the final phase of making the film, and the most important of them all. Here’s where the story takes shape, finds its pace and balance, and is cut in such a way to enhance the fine performances we have captured. We’re fortunate in have Paul to edit. He shares our commitment to story and drama as the heart of film. For the next four weeks he’ll be beavering away to put together an initial cut. After that our director Rosemary will begin the dialogue over the shaping and nuancing of that cut.
Then, at some stage, we’ll have something to be shown to investors, and to potential partners who might contribute to the substantial costs of the serious post which needs to be done. I can’t speak highly enough of the good people at Images and Sound, led by Grant Baker, who have been generous and supportive of the project in its journey to this stage. They are not only a team of professionals; they still believe in the art of film and of storytelling. Once again we’ve experienced the goodwill which helps us to move along the astonishing journey of this film.
I’m even more aware of this through working on a forthcoming article for Onfilm magazine, in which I’m tracing the 7 year development process. It’ll be coming out in the February issue, and will be followed up by another couple of pieces. Look out for it.