David Beckham drives Jade Bailey from tower Bridge to the Olympic Park at Stratford with the Olympic Torch. The symmetry and poetry of David driving Jade is a beautiful touch. Both are footballers, David has played huge games for England, and Jade has started her England under-17’s career, David was the ideal person to hand over the reins to the next generation of football greats.
Celebrating 25 years(!) of Phantom of the Opera, we staged a full production in the Royal Albert Hall (click on the photo for a clip, it’s worth it). As the RAH has no proscenium, we built an entire proscenium stage with fake boxes (all the boxes in the pic are actually scaff faced with scenic elements, keyed into the normal Albert boxes invisibly). 3 showings, with a live telecast to cinemas worldwide, this was the fastest selling show the RAH has ever hosted. Absolutely spectacular.
Just for a bit of fun, I took a week’s work as an extra for War Horse, when it was shooting in Castle Coombe, just down the road. If ever there was evidence of the mood of the set being set by the director, this was it. A dozen horses, couple of hundred extras, changeable weather – Spirlberg was up against it, but was always calm and cheerful. This rubbed off on the whole crew, making for a surprisingly calm set considering a quick tally suggests the shoot was costing in the region of £250k/day!
Yes cold, yes tiring, yes slow, but great to see the master at work first hand. Some production notes –
- 60kW of lighting – 3@18kW, 1@6kW means you can even out the changeable sun/cloud pretty well. And 18kW/head means you can dry out pretty sharpish if you get damp.
- Equestrian Make-up is a real job I’d never considered
- Spielberg/Kaminski create visual depth in scenes by throwing plenty of extras into the background of shots, but also always using smoke/haze in shots to interact with the lights. This is something often missing in British productions (with less money, admittedly), lighting in depth. A bit of haze wafted around shows off what lighting the DoP has set, and adds such depth to a scene.
- Kaminski almost exclusively used multi-length lenses, not primes. A good zoom lens makes for fast setups whilst presenting enough light to the sensor.