Comments on last show and published film

Performance

Following the other week’s cabaret event “Don’t Judge Me By My Accent”, I wanted to go back to the process of preparing my part of the show, and what I discovered on the night.

In May, Beatrice Mori, a talented actress, singer and producer, asked me if I wanted to perform a monologue at her event. She first mentioned a German accent, which I don’t quite feel comfortable in at the moment. After growing up in France, I feel that my oral muscles are able to speak naturally in English with a French accent, so I suggested that instead. I then started looking for French actresses who also act in English for inspiration and a script. Cotillard came to mind, as well as Gainsbourg, but I chose Julie Delpy and remembered the final voiceover in her film “2 Days in Paris” where she describes her relationships with men and deep love for her boyfriend Jack.

I had a month to prepare, so I took my time to learn the speech inside and out, but until the day of the show, I didn’t really know how I would interpret it. It’s funny, sad, provocative. There were things I could relate to, but others I couldn’t. Moreover, presenting a monologue out of context on a cabaret night is not like an audition, it needs to entertain the audience and tell a story from start to finish, right? I broke the text down multiple times, going through the intentions, thought changes and the overall arc. Beatrice told me that she once felt completely lost just hours before performing a piece, and this reminded me that sometimes things need time to click.

And that’s what happened. I arrived at the venue early, where a few of the performers had the chance to rehearse in front of each other. I walked on stage, started talking, and then realised where the speech was going. I found the humour, the rhythm, and noticed that even though the piece is not that funny, I brought my own humour to it. It was the first time I was speaking this text in a big room, and it made all the difference.

The atmosphere and the audience that evening were magical, and we all had a great time, it felt like a collaboration although we had all more or less just met that afternoon. During the show, Beatrice spoke about the origins of this show that embraces all accents and encourages us to be ourselves, to use what makes us unique instead of trying to fit into a box.

You hear this a lot: embrace what makes you unique, don’t try to fit in but communicate in your own voice. After close to a decade away from France, my French is shifting, so is my English, which I’ve inherited from my American mother – not to mention my German which is underused at the moment. But that’s who I am! To quote my friend Margot, I’m a “Euro-merican”, and the movies and plays that move me are those that have characters who don’t just identify as being from one culture. Inside ourselves, we are a rainbow (quoting Maya Rudolph here), and if we work hard enough and keep pushing, I believe the industry will become interested in that rainbow.

Film

On another note, an exciting and dark short thriller/horror shot in 2016 called “Echoes of the Passed” is out on YouTube! This was my third short film with filmmaker Scott Lyus. I loved the experience of acting in this, as I feel I made friends, got to have fun with my three co-stars, and had my first experience with night shoots. Working with Scott is a true pleasure and on this film, it was a real collaboration.

What's up in June

Photo by Laima

Oh dear, it’s been two months since my last article! Well, I’m back with some news on what I’ve been up to in the acting world.

Playing Carol Cutrere in Orpheus Descending last month was a fantastic experience, as I think I overcame some fears I had. The more you work in front of the camera, the scarier stage becomes, right? Speaking Tennessee Williams’ words with a Louisiana accent is a lot of fun and becoming this loud, proud and damaged woman for a few weeks was a joy. I now have a theory that that’s exactly what my casting is.

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Last week I acted in Tiny Kernel of Dark Joy, a short film written and directed by Andrea Ratti, who was 1st AD on Dear Mum. Andrea is definitely someone you can learn film history from, and I respect his passion and the clear vision he can bring to a set. Our cinematographer was Felix Dembinski. The film should be around five to ten minutes long and I play a woman who’s just lost her father and decides to listen to his old records.

I’ve been invited by Beatrice Mori, actress and producer, to perform a monologue at the event “Don’t Judge me by my Accent” this week-end. I’m pleased she thought of me, and this is my chance to perform with a French accent – something I am rarely asked to do. This should be a great night of meeting like-minded people and watching nice pieces of music and theatre. Tickets here

Images by Laima Arlauskaite and Sam Chatziiliadis.

I’ve been cast in a play, and other observations

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Theatre news!

I am so excited to be playing the rebellious and fragile character of Carol Cutrere in ORPHEUS DESCENDING by Tennessee Williams at the Stockwell Playhouse, London, from 15 to 18 May 2019. The play will be directed by Marcus Marsh and my pal Ali Shinall is also in it! Rehearsals start right after Easter. Save the date! Tickets can be purchased here.

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Review

I spent some time in Paris last month, and went to see Simon Stone’s current production of “La Trilogie de la vengeance” (the vengeance trilogy), starring my girl crushes Adele Exarchopoulos (also appearing in “The White Crow” directed by Ralph Fiennes) and Valeria Bruni-Tedeschi. The play as well as the audience are split into three parts, and you move between sets for each new act. Stone, whose “Yerma” I saw in London, grabs classical stories written by Shakespeare or John Ford in which women are seen as archetypes and uni-dimensional victims and gives them a whole new meaning in today’s world. I do love these kinds of adaptations that don’t shy away from changing language and setting for a fresh and visceral contemporary experience.

Video

Finally, you may have seen my post last month about cinematographer Tansy Simpson’s work with Illuminatrix Rising, Kodak and Cinelab London in which I appear. Here is a longer clip, with sunlight and shadows hopefully exiting your screen to reach you.

Until next time!

3 months later

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I’m still here! While I haven’t been “in anything” per se in the last few months, that shouldn’t be a reason to be quiet, right? Thanks Ziggy Luz for saying she missed my blogs and encouraging me to start them up again. Speaking of Ziggy: this week I went to Working Title in Marylebone to witness three short films that she and director Bradley Porter have been working. The setting of course was perfect, with an intimate theatre with big chairs to relax into, and the feeling that Tom Hooper had probably been there a few times (call me!). The shorts were truly excellent, with so much talent in the acting, cinematography, editing, writing and directing departments. I’m sure everyone involved was very proud to see them with a larger group of people.

As for me, I can proudly say that my creativity has been newly stretched thanks to time spent in the kitchen. I’ve enjoyed discovering spices and making as much as I can from scratch thanks to vegan recipes (such as Occasionally Eggs and Lazy Cat Kitchen) which, because of the absence of meat, focus even more on nutrients. They say you should have a hobby outside of acting that brings you joy and you can practice, and this is surely it right now.

A few weeks ago, I reunited with wonderfully talented cinematographer Tansy Simpson, member of Illuminatrix Rising DOPs, which showcases emerging and developing talent on a monthly basis. She was asked to collaborate with Kodak to create a video for International Women’s Day on March 8th. We met in the park, along with a few other cast and crew, and had a lot of fun on a sunny day in Kensington. The result, alongside the other talent, is gorgeous (see on the right). Tansy Simpson is currently creating another longer cut of her work on this project. I can definitely recommend Tansy for her intelligence, problem-solving skills and great taste, in life and work. Thanks for the black tank top!

I reunited with fellow “Curious Voyage” friends Magdalena and Nikos to read scripts during a scriptwriting workshop. It was great to collaborate, and be back in a room with creatives wanting to be the best they can be. I also met writer Tony Sands (who wrote and acted in Echoes of the Passed) and Elena Mazzon, who is soon to go to Iceland on her journey to present her one-woman show Clara to the world!

I’ve also been attending a few readings of Shakespeare plays organised by the talented actor Jonathan Le Billon. He has been organising weekly readings of the Bard’s plays. I joined the group late in the run, but am glad I could discover some of the plays along with other Shakespeare fans. Shoutout to actress Ali Shinall.

With regards to short film Dear Mum that I worked on with Donovan Swart last year, it is in the editing phase. Once that is complete, I will need to do a voiceover to include in the film. It will be worth the wait!

Finally, I want to mention a film I’ve enjoyed this month: The Kindergarten Teacher, directed by Sara Colangelo and starring the fabulous Maggie Gyllenhaal. She plays a kindergarten teacher who one day hears one of her kids speaking poetry. She makes the decision to nurture him and his talent, which makes her cross inappropriate lines with regards to his parents and the detachment she should have in her job, and creates tension inside her own family too. The character is warm, messy, brave, sad, all at the same time. It’s a beautiful portrait, one that will make you uncomfortable but you’ll like why that is.

Until next time!

What’s up, November?

These past few weeks have been all about The Curious Voyage, a secret immersive theatre show crossing continents! Indeed, it is being produced by Talk is Free Theatre, a company from Barrie, Canada. Canadian guests start a three-day immersive experience in Barrie ending in London, UK. Others are free to only do the London day, starting at 1pm and ending at 9pm in various London locations. You can read reviews on Broadway World or Londonist.

With only five more shows to do this coming week, I wanted to tell a bit more about my experience on the team, without revealing anything about the show of course! What I love about my part of the show, directed by Daniele Bartolini, is that the audience members really are the most important. They are the life of the show, as opposed to the actors.

In fact, I don’t feel like I’m acting at all. I have a script to follow, but also need to react to the groups I am leading through the “Voyage”. This has made the experience very freeing and I plan on taking this element into future shows.

I also have to point out the amazing people I’ve been working with: our director Daniele, the actors (Nikos Brahimllari; Rory de Brouwer; Gianpiero Cognoli; Magdalena Korpas; Vincent Leblanc-Beaudoin, Ninad Samadder, Danielle Stagg) and our incredible producer Raylene Turner. I believe the nature of the show has opened us all up to each other’s quirkiness and originality – every crew member is an artist in their own way and it’s been a treat to meet them all. I will miss them when this is over.

Speaking of, after this show, I will be renewing my actor headshots and hopefully jumping on the audition train again.

Thanks for reading!

Toodloo and good night.   

Dear Mum: in the can

Every filmmaking experience is unique. It depends on the people you are working with, the chemistry between them, and the story that is being told. Working with my friend Donovan Swart over the last six months to prepare for Dear Mum has been a wonderful creative experience. What I felt I brought to the table was my experience on multiple short film sets as an actress, and also producer on Der Gugelhupf earlier this year. What he brought was this tremendous short story of grief, family and human connection. As we quickly noticed, the characters that he wrote were so full of life that what happens after or before the events of this short film could go in many directions. Donovan’s love for films, books and storytelling as well as excellent people skills were the fuel supporting our experience.

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Acting wise, this has probably been my most challenging role due to the emotion it required. However, by being a producer, I feel like I’d been living with my character Katie for months. This helped me take my time to research her life, make personal decisions and, once the other actors were cast, develop her relationships. Once we got on set, I think the culmination of it all was a big help. In fact, a few days before we started, I was really itching to GO!

I had the majority of my scenes with Daniel Barry, a generous and very friendly actor who I got to know a bit before shooting. He played my husband George, and it was great to have him as a partner. My daughter was played by Lucy Allwood, who had been perfect in the audition already, and I wish I had had more than one scene with her! It was great to act alongside people of different ages on this project. My father was played with so much focus and generosity by CJ Barton. Without lines, he still stole the show in my opinion. My mother Fiona was played by Chrissie Grech, who I acted in flashback scenes with. I became attached to her and it was fun imagining some of our past together.

During the five-day shoot (four in a house in South West London and one in Botany Bay), I often had to pinch myself that people were working tirelessly for this one story. We had a great crew, starting with the brilliant director of photography Ariel Artur, who brought along his great camera team Steven Fairman, Felix Dembinski and Clare Brittain. Our assistant director Andrea Ratti is out of this world, so organised, sweet and strict when needed. The skill of developing a stripboard is a mystery to me. Andrea was assisted by the lovely Rama Amkie. Our sound technician was Lee Viesnik, and our make up artist Joan Karimi, who I was happy to have interesting conversations with, especially on our last day. Continuity was handled by Valentina Marciano (also a runner), Hannah Rogers and Sandra Tomalka. I had not realised early enough during pre-production how important this role was, which is why we couldn’t find one same person for all days. Better next time! Our super duper runners were: Orhan Toprakci (also producer), Cat Scambler (also executive producer), Liam Bland (also acting as the barman and assisting Donovan on script work), Marina Lacoste and Valentina, mentioned above. On set photography was handled by Luisina Fascendini and Ivan Troopa.

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What I care about as producer is that: nothing broke and no one died! Seriously, I feel that that’s the job of the producer: make sure everyone shows up and stays healthy, and that things get done. A film team is a house of cards. Take one away, and it all falls apart. I am so pleased that I could play this role in Donovan’s first film. As a director, he was a great leader and this is definitely only the beginning for him.

Post production has now started, and I will be keeping you updated on edits and more photos. In the meantime, I’m now in rehearsals for an immersive show called The Curious Voyage, so I’m out of here! Toodloo.

It's September!

Temperatures have cooled, international film festivals are in full swing, and we are approaching our shoot for DEAR MUM. With the help of the wonderful producing team Don, Cat, Orhan and Andrea, I feel we are on the right track. Our 2nd AC and gaffer have been locked, which is great news!

Rehearsals: To prepare, I have been taking in text, audio and videos about mother-daughter relationships and bipolar disorder over the summer. I met my fellow actor Daniel Barry this week, and am so pleased that he is even more of a character geek than me! I've been chatting with Lucy Allwood (playing my daughter Lily) and Chrysanthe Grech (playing my mother Fiona) about memories. This is wonderful, and I am in the process of writing my full life backstory as Katie. Next week, actors will be meeting with director Donovan to work on scenes. 

Costume: the next week will be about tone and locking down costume. This is always a tough one for me: you don't want your own taste to get in the way. I am happiest when someone just hands me what I have to wear (this has only happened to me twice thus far) - is that lazy?

Set design: we are meeting with set designer Sunny Jeon this week at the house, the location where we will be shooting for four days.

Catering: apart from the fact that looking at websites of catering menus is mouth-watering, this is an important part of our budget. As an actress, I notice the disappointment when you are simply served supermarket sandwiches and soda - no go!

Toodloo!

Casting almost complete

Yesterday we had our audition day, meeting ten candidates for the various characters. It was an incredible learning experience for me and the other producers Cat, Donovan (our director) and Orhan. We asked the actors to read a specific scene, and then chatted with them. I was very grateful have two friends Tony and Elena coming in to read with the actors. We now have confirmed three out of the four actors we were looking for, and are still deciding on the last one. The casting announcement should happen soon though!

We have now also hired a make up artist and... a 1st assistant director! This is wonderful news, as they are a great addition to our team, have an excellent eye for detail, and I can now focus more fully on the acting - yes!

Next week we will be traveling down to Margate to scout two more locations, and our cast rehearsal will happen in September.

Thanks for following our progress! 

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Dear Mum: two months to go!

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In acting news this week, I met a wonderful group of actors for the rehearsed reading of Romiette + Julio (a rewritten version of Shakespeare's play by Lauren Morley) at the Lion and Unicorn Theatre on Wednesday.  

In other news, notably DEAR MUM, please forgive the silence, the last three weeks have been all casting-related for me. While writer-director Donovan is working on his shot list for the film, he's also been deep in the casting process as self-tapes for four roles have been coming in. I am happy to say that we have now picked our FIONA, and that the actress has accepted the role!

In three weeks, we will hold our face to face auditions with our favourite candidates for the other three characters in London, some of whom have already scheduled their audition slot. I would say I already have my favourites for each character, but plan on being surprised.

With a little over two months before we shoot, there are still many questions to be answered, such as who will be our set designer or which beach we will choose to shoot one of our scenes at. 

Meanwhile, here is our poster for the film! It was photographed by Luisina Fascendini Gatti and designed by Marc Sargeant and shows my character Katie contemplating which words to put down on the page as she writes to her mother. 

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Dear Mum: 3 months to go

We just had a great week-end of meetings on Donovan Swart's film DEAR MUM. With almost three months to go before we shoot, things are cooking.

- Casting: today, Don and I sat down to sort through the large number of talented actors who applied for the various roles in the film. I will play Katie, which leaves us with the roles of my mother, father, husband and daughter. In the next 24 hours, I will be sending out self-tape requests. This will be a great way to see how the candidates look on screen while speaking a particular part of the script. Our decision on self-tapes will lead to the next step of face to face auditions. 

On my last film DER GUGELHUPF, I only had one actor to find. Now that we have four people to cast, and that family chemistry will play a huge role, the challenge is strong. Being on the other side of things here (instead of being the actor), I notice how vital it is to have an up to date headshot and not to show images that are too dark or where a face is covered in blood. In addition, you notice the immediate impression that a first showreel clip gives. I would say that when it comes to showing acting skills, it is better to show a monologue with a plain background than a very dark clip.  

- Production: fellow producer Orhan and I sat down yesterday to make an estimate of the budget. Some funding opportunities are still open, but we are working while assuming we will work only with our money. We are still within budget, but as you know, last expenses can also pile up, such as insurance, food or costume. However it's great to notice that we have not passed our set budget. 

Greetings from HOT London.

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House and dates locked

Today is all about DEAR MUM, a short film written and directed by Donovan Swart. I'm happy to announce that this week the production team locked the house we will be shooting in for four days in late September.

Indeed, the story, which involves five members of a family, mostly takes place in a house with its living room, kitchen and bedrooms. I don't think we could have found a better place to shoot in, and most importantly, this news helps everyone move towards the next important step: casting. 

We've been receiving many applications for our characters, and Donovan and I will be meeting this week to create a first shortlist that we will request self tapes from. This is another essential stage which involves emotion and human chemistry - a great challenge!

Have a great week everyone!

 

Another door opens

Me again! 

Following the completion of the German-language short film DER GUGELHUPF, I am now turning this page into a diary about my life as an actress slash producer!

My film has now been sent to a few festivals. There is one I am hoping will accept to screen it, but otherwise it has been difficult to decide which places to send it to. Submitting can end up costing quite a bit, so for now I will submit to only a few per month while waiting for first selections from my choices.

On the acting side of things, my Spotlight now has three reels in my three languages: English, French and German! I was pleased to receive the full film of THE INK SLINGER, shot back in February, and used a scene from it for my English reel.

In terms of what is in the pipeline, there is a theme which will define this summer: mental health. First, I will be involved in Scott Lyus's OUR SONG, a sci-fi story about dementia. I look forward to playing the daughter, as I am always happy to be involved with Scott's work. This piece will be a very personal one to him, and you can support his film here

Second, I am part of the production team of Donovan Swart's short film DEAR MUM, a family drama which takes place following a suicide. I will be playing the lead Katie who has lost her mother. We are currently locking our principal location and will soon start the casting process as well. I'm pleased Don has also found a cinematographer he likes, and that collaboration will be very interesting to watch. Watch this space!

As we approach the longest day of the year, I am excited to start working on roles that require me to dig deeper into myself. 

Until next time!

Watching yourself

As I wait for the last few adjustments to the 5-minute short film DER GUGELHUPF, I wanted to put on my actress hat and tell you about what it feels like to watch yourself acting on screen.

Let me tell you something: I've never been as self-critical than with this film. Is it because it's a product of my imagination? Because I was involved on more levels than in other projects? Probably!

So far, the first viewings of my films have come with some difficulty - sometimes with my inner voice screaming "stop overacting!" - but in subsequent viewings, I settle in, watch the other actors, notice the camera movements, and take more and more distance from it. I haven't lived with it as long as the director has, so I am able to take a step back and enjoy the story.

People find it strange that some actors don't like watching themselves. However, it actually makes a lot of sense. Screen acting is such a younger craft than the millennia-old discipline of the actor. The original job of the actor is to perform to a live audience. Words are said, audiences react, actors react to the audience, everything's immediate. What's more, the power of the moment means that you have the luxury of not watching your own performance. Therefore, I understand that when you are watching a film six months after actually shooting it, you may feel like some of it is fake: you have evolved, you've done other things, and you are now looking at something that you felt all those months ago. Perhaps today, you would have reacted differently.

Back to DER GUGELHUPF: I'm actually quite grateful, because I've finally found out about a very important habit I have and which appears on screen here. I've either not had it come out this much before, or directors didn't mind it, but I have been watching it multiple times over the last month and it definitely caught my eye. I see it as a lesson! If you want to know what it is, you'll have to watch the film!

On that note, I wish everyone a good week, and thank you for following!

Post-production

And we're back! Things are cooking again for DER GUGELHUPF, which has now been fully edited by Marcell Feher. The short film is just a little over five minutes long. The next two stages, which should be completed this month, are colour grading and sound mixing, which are now in progress.

Colour grading: as we shot outside and that the light changed over the course of the day, we need to adjust colour and light in the film in order to it all to look fluid and real.

Sound mixing: I will know more about the impact once it is fully finished, but this is to make sure all sounds that occurred during our shoot are nicely combined in order for the audio experience to complete the visual one.

There is much less for me to do at this point, apart from coordinating progress with the post-production team.

Next week I will be going into my first impressions of the film.

Thank you for following! 

 

We came, we saw...

We did it! The past two months of work have led to one magical day of shooting in Central London with a cast and crew of 11 people. In the week leading up to it and during the day itself, I had to keep pinching myself that it was happening: 10 people coming together for me, to make something out of nothing - the beauty of filmmaking.

The call time was 9am at a private square that we were extremely lucky to use. Snow had been falling all week, so I was worried about a storm, but the snow had already started melting by the time the day was finished. There will be snow in the film, which is hopefully going to add an extra flavour.

As the camera crew started setting up, our make up artist Sarah D'Cruz worked on Maria and I. This is my third time working with Sarah, whose input and professionalism I've enjoyed since the first minute of knowing her. By 11am, everyone was outside to prepare the first shot - a wide shot of me, Character A, coming into the square to sit on a bench before Character B appears. As the film is just one scene, we were able to act it out from start to finish many times, which I think we actresses appreciated. The camera crew, led by the amazing and award-winning Barbara Van Schaik and assisted by Donny Johnson and Clem Nachbauer, were top notch and I'm so glad I had them. I met Clem at the same time as Sarah, and I believe that even when we are sixty years old, I will still be telling people "he's so young and so talented!". Pablo Valverde was recording sound, thanks to a boom and individual little microphones for the actresses, and did an amazing job. Sound people are always intriguing to me: they are quiet, almost invisible, and so focused. We also had a continuity person called Eleanor, a photographer called Alexi, and a runner called Orhan. Finally, there was Hannah Rogers, our co-director, calm, collected and completely on it. As we had met many times before the shoot, I trusted completely that she knew what we were going for, and often didn't need to check the shot on the monitor. 

We broke for lunch after filming various slates - I served my Gugelhupf cake for dessert - and then we finished shooting the scene before it got dark. As I called it a "Wrap" and joined the camera crew for a drink, I felt quite sad, perhaps lonely! Shooting is incredible, but this was the first time I realised how far from finished the product was. Somehow, I felt that I still had mountains to climb, so I couldn't quite relax. What awaits now is editing by Marcell Feher, sound mixing and colour grading.

In the meantime, you can check out our page on IMDb

Los geht's!

Last night, I had a dream that I was the leader of a spaceship and that I was taking my crew up into space. When we got up there, a hole got pierced in one of the windows and I had to block it with my hand. I blocked it all the way back down to earth. 

Der Gugelhupf is all around me. This week, every time I got a call from anyone involved in it, I thought they were cancelling on me! However, it didn't happen! I think this project is happening! And - you may not realise how great news this is - we know where we can use a toilet!

What I really need to do now is take a step back and be the actress. I count on this week's Triyoga classes as well as morning walks to keep me sharp. 

In the next few days, I will also have last rehearsals with Hannah Rogers (co-director) and our actress Maria, confirming the story's visual and emotional progression with the help of a storyboard that can serve everyone. Our DP has also asked for visual references, which were fun to research. 

After the shoot, I will recap on everything I've learned leading up to it (including the B word: Budget!), and describe everyone's work in more detail. I am quite pleased that almost everyone on this shoot is someone I have worked with in the past in one way or another. Being on many short film sets over the years really does create friendships and bonds. 

We will have two co-directors, three camera crew, four production assistants, a make up artist, a sound recordist, and two actresses! 

See you on the other side, and thanks for following! 

Sandwiches

It's been a great week in the land of the GUGELHUPF (see homemade almond gugelhupf on the right)! 

It started with a directors meeting with my co-director Hannah Rogers. We went through the first shot list draft (our decision on where to put the camera during the scene) and it's been great to have her help with this. The scale of this film is quite small, which is why this first time, I'm relying a lot on my instincts and my experience of watching films. 

The next day, I met up with Maria Hildebrand, our actress. Talking to her was fantastic and I am so happy that we will be bringing characters A and B to life together. Without spoiling anything, there is a special bond between our characters, and it will be very interesting to keep rehearsing them together.

My hard drives have arrived and I strolled through the area of our location again today to spot any cafes and shops we may need. It has also been decided that our cast and crew will be eating home made sandwiches made with love! 

That's it for me today! This coming week I'll be acting in another person's film, doing what I love best and focusing just on the performance, phew! 

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Three weeks to go

Today, I'd like to introduce two important partners on DER GUGELHUPF: our actress and our co-director/co-producer!

Say hello to Maria Hildebrand! She is bilingual in English and German, and will be playing "B" in our short film alongside myself. We are having our first rehearsal this week and I can't wait!

Next, here is Hannah Rogers, who I am so lucky to have beside me to co-direct and co-produce. All photos I have of her show her back, but I wanted to show you this one as it's from FOOL'S GOLD, a short film she directed me in. This week, we visited the location together in order for her to do a risk assessment, which will prove helpful when applying for insurance. Next week, we will be going through the shot list. 

Our budget is on my mind daily, as new elements keep coming into play such as food and hard drives. This article assures me that whatever budget you had, just add $1000. Not that I'm quite up there (yet), but it's reassuring to know everyone faces this! 

Tshüss!

On to the creative

I believe we did it! We've fulfilled most of the administrative tasks that come with producing a film: we've found the perfect actress, have organised camera and liability insurance for the shoot day, and I've now hired a sound technician as well as our 2nd Assistant Camera - two fellow filmmakers who I've worked with before.

Now it's time to move on to the most exciting part: the creative side of things.

In the next four weeks, I will be meeting with my co-director, our cinematographer and our actress for rehearsals. We will also be organising our film shots line by line, which will be a new learning element for me. I already know this process will be a collaboration, which I'm so pleased about.

In the meantime, I'm going up to Manchester this week for a corporate job as an actress, and have also been cast in another short film that will be shot later this month.

You may remember that Gugelhupf is the name of a cake, so expect a photo of a home made one on this page soon!

Keep building

Working on a creative project means building a house of cards every day, only to see it fall over again and again. However, the more this happens, the more you know that it will be built up again, and that it's just the way it is. What's more, that feeling when it's built up again is priceless.

Last week, I didn't have a director, a DP or a location. This week, I have all those things, plus a shooting date, a make up artist and a stylist!

The last very important piece of the puzzle is my fellow actress. As dates have kept changing, this has been a challenge. My aim is to have found her and agree with my co-director Hannah that she is absolutely right by Sunday.

Five weeks to go!