Everything for Everything
Everything for Everything 03/03/2013
Third day of shooting.
I met Onute by the university. Transport was running smoothly, until we met Tomas and tagged all the equipment along to the station. There were no trains
Everything for Everything 26/02/2013
Second shoot.
We managed to film the short phone call scene in the Exterior I found last saturday in 1 hour.
The shot was simple and we ‘filmed a feature with documentary crew’.
We returned to our main location – the flat in Hampstead, where we filmed four different locations in one room.
The preparation was quite long, because the actress had to change the outfit for every ‘dream scene’.
We also had to catch up with several close-up shots and a scene, that we didn’t manage to film on Monday 25th.
Although I was filming the close-ups in the daylight, the day was cloudier than the previous one and I didn’t have enough light for the correct exposure, so I had to find a solution and used the phone light to compensate the difference in exposure.
The dream sequences were filmed with a lighting set-up. Maria Barsukova was the Gaffer and I really enjoyed working with her. I just explained her what kind of light I needed for each scene and she gave me suggestions how we could use the equipment that was at our disposal to achieve the desired result. She also helped me to set up the lights and other visual elements of the shot and helped the whole process go much faster. I was pleasantly surprised how professional she was and it was a great pleasure for me to work with her.
There was more waiting for the extras, shifting things around and setting up the shot than the actual shooting, that’s why we only finished shooting at 10PM.
Overall it was a productive and fun day.
Everything for Everything 25/02/2013
First shoot.
We started off with shooting the ‘Gloomy reality’ scenes, which all took place in the bedroom. It took the crew longer to take out the equipment from the loan store, than it was expected, so we were already a little behind the schedule from the beginning.
Initially we were planning to finish all the filming out of schedule due to the lack of preparation.
Everything for everything 23/02/2013
This was our last meeting with Onute before the shoot, and I still had to discuss my ideas about the look and feel of the film with her. I also wanted to propose some ideas how to emphasize the contrasts between gloomy reality and colourful dreams.
Just before the meeting I found a visual reference to the look I had imagined in my head – a short film “Ticking boxes” by Tadas Vidmantas. Ronaldas Buozis, the cinematographer of the film, uses soft natural lighting and desaturated colours to create the atmosphere and express the mood of a man, who’s about to commit a suicide.
This is exactly what I wanted to achieve to emphasise the emptiness of a depressed girl’s life.
Also before the meeting I had some time to scout for Exterior locations for the phone call scene outside the pub. I found a nice red brick estate, took some pictures and Onute loved the look, therefore we definitely decided to shoot there on Tuesday.
Everything for everything 22/02/2013
Meeting with Onute.
Discussed movement shots in the Studio. I insisted on booking it for the test shoot. Decided to meet tomorrow for detailed discussion
Everything for everything 17/02/2013 Location tests
Today we checked the locations for the film ‘Everything for everything’. One of them is a spacious and bright flat in Hampstead, and the other – Prince Arthur pub in Euston. Both locations provide sufficient natural lighting, which will help us to film the sequences much faster.
In fact, we will use the flat for 6 different spaces:
Ema’s room,
Ema’s kitchen,
Bathroom,
And the living room can be used for 3 different locations back in Ema’s hometown.
Art Kavali 