First off, Claire needed to be home by lunch time, so in order to ensure we weren't under pressure, I chose to film her scene first, I had already set everything up and was ready to shoot as soon as they arrived.
I told Claire what I wanted her to do (see last blog post) and she did it in one take. Straight after that I recorded her voice over for the opening phone call and she had left set within half an hour of being there! Things were off to a flying start.
Scene 1 - Reshoot
As soon as Claire left set, Gwynneth and Alex were ready to do their reshoots, and again, I chose to do it chronologically, not only because of being weary of getting fake blood on clothes, but also to get them back into their character mind sets.
After learning from my mistakes from the first day, I was happy with the footage I got from the reshoot. Everything was much brighter and in focus.
Scene 2 - Reshoot
Next was to reshoot the shots that had issues because of the LED light in the bathroom. This again took less than 20 minutes to shoot, which really motivated everybody on set as they were always on their toes.
Scene 4
This was the scene I was really excited to film, but at the same time, I was dreading, purely because of the last fight scene.
This scene needed to build tension between the characters and put the audience in the middle of it, and the only way I felt that was possible was by getting creative with the shots. Again, Gwynneth and Alex knew their lines which helped keep me on top of everything, but first on the agenda was Mike eating his dinner without so much as looking at Sarah.
For this, I first got cutaways of Sarah preparing the food, including taking the chicken out of the oven, carving it and putting it onto a plate. Next, I wanted to show just how vile Mike truly is, and to do this, I got macro shots of him viciously cutting his food and eating like a pig.
Next I wanted to show Sarah putting the kettle on, for when it starts to boil as the tension rises. As the kettle was as reflective as a mirror, it was difficult to get a close up shot of it, so to conquer this, I used a long 20mm lens from a distance, hidden behind a cupboard.
As the scene goes on, as stated, the tension rises, and what I have seen with many, if not all films, the higher the tension is, the faster the cutting becomes. I wanted to get as many different takes from as many different angles as I could think of so I'd never run out of things to cut to. This especially applies to where she hits him with the kettle, it would never work without fast editing.
I wanted it to look as real as possible, so it would look as though she were actually hitting him, so I had the idea of putting the prop raw chicken to good use by placing it where Mike's head would be, and letting Gwynneth hit it as hard as she could, repeatedly. For the stabbing scene, I had bought two of the same chicken forks and cut the two middle prongs off of one to fit around Alex's neck, and for safety measures, I fitted two caps onto the end of the stubs to stop any sharp edges, like so:
I was very happy with how the shoot went, how professional everybody on set was and the effort everybody put into it.
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