They star in every film, but how much do we know about them?
This is a look at the antiques and props that make the film sets of virtually all of the UK film industry and a large portion of Hollywood productions. Featuring the props themselves (who wake up at night and have a party) and interviews with key designers and set decorators such as Stephenie McMillan (Harry Potter, The English Patient) and Peter Young (Superman, Batman, Charlie and the Chocolate Factory) directed and produced by Srđan Keča.
Filmed entirely on Location at Farley, for those of you who may not be familiar with Farley they are the suppliers of fine antique furniture, art and action props to the theatre, television and film industries. For me I always take any given opportunity to shoot documentaries, there is so much you can learn and pass on just from the very nature of them, would definitely love to do more. It was a small crew, Srđan Keča director, Xan Márquez Caneda on sound and myself. We had spent a total of three days shooting the various interviews and stop motion animation which was an incredible way of giving life to these objects at night but extremely demanding within the time frame considering the warehouse was ginormous. I remember Srđan just taking a fascinating amazement to the armour and wanting to do stop motion with him/ it… This took a while to work out how to move each arm and leg and have it remain in position long enough to take the photograph. After some trial and error and many hours passing we managed to get like 600 frames down, then it happened, we were based right at the back , the quietest section of this multi floor warehouse. We heard a couple of voices and their shadow projected against the wall growing larger as they inched towards us,two of the employees carrying a massive sofa had to get past us and and our new found friend Iron man, yup we had to move the camera and entire setup and start again, that turned out to be a long day but it did make it to the final cut. We shot on a 5D with some L series glass. The interviews were shot on a 50mm lens and everything else on varied lenses. The uploaded trailer is also footage straight from the camera – no colour correction.
All in all a good few days.