Choosing our shooting location

We conducted some mini-research on the type of location we could shoot in for the restaurant scenes. We were so decided on the idea of a conversation taking place in a forties’ restaurant, as both Hannah and I could see the shots clearly in our minds when visualising how the film would unfold. We visited, both together and separately, various restaurants in Farnham, Camberley and Guildford, taking photos of each. Factors we had to consider were first and foremost the décor – would it convincingly suit the era we were trying to portray? Then we had to consider the nearness/convenience of the locations, the layout of the restaurant regarding the framing of the shots, and the possibility of obstructing the restaurant too much. Also Hannah and I discussed who were more likely to give us permission to film – a large restaurant chain or a smaller, independent establishment?

However when considering Bella Italia’s Camberley branch to shoot in, the period, look, layout and overall ambient of the place excited us so much we spent weeks in correspondence with the management trying to obtain filming permission. It seemed very unlikely that a large Italian chain would allow us to get in the way of their business for free but after two letters, many phone calls and assurances they agreed. Below is a draught of our “permission to film” letter and our liability waiver, both crucial in securing our location.

Characteristics of our first chosen shot location, “Bella Italia”:

-Fairly local

-Low lighting – would look good in black and white. Good to utilise studio lights – for ‘noir-esque’ low-key lighting

-Good corners in the floorplan to film while staying out of the way of customers/staff, and for customers to stay out of shot

-Toilet door (needed for script)

-Entrance can be seen from table (needed for script)

-Visible bar (good for genre of film)

-Gilt framed mirrors and pictures (excellent for set design)

-Basic, not too modern tables and chairs (suitable for era)

-Little to no visibility of modern technology (i.e. tills, TVs, automatic doors etc)

Drawbacks:

-Large windows opening out onto modern mall exterior: We planned on filming in such a way that the audience could not see the modern “Frankie & Benny’s” logo of the opposite restaurant, and so the audience could not see the ordinary, modernly dressed pedestrians passing by. If we encountered problems we planned on superimposing corrective elements in editing.

-Difficult to obtain permission

-If permission were to be obtained, we would have a very limited time frame to work within while filming. We would have to be very quick in setting up and organised in following our shooting schedule meticulously.

(Screen shots)

For the bathroom scene we decided against using the Bella Italia restrooms due to its contradictory modern look, white tiled floors and electric handdryers. We needed a darker and older looking bathroom with a glamorous mirror for Rita to gaze in. For the house scene we managed to gain permission from a friend who’s living room we knew was styled like a spacious forties home, with patterned wallpaper, mahogany bookcases and a log fire. We thought that by bringing in a few accessories such as a vintage lamp and an old clock and disguising modern conveniences such as the television and house-phone we could create the exact look we wanted. We decided to shoot the restaurant bathroom scene in our friend’s toilet as it had the closeted, dark and retro appeal we had imagined with the perfect mirror above the sink.

(Screenshots)

The streetlit scenes outside were shot on some Guildford back-roads. We had initially intended to film on the Guildford high street at night as the clock tower struck eight, but it was far too populated and well lit. We realised if we wanted the high contrast effect of streetlights, shadow and darkness we would have to film elsewhere. We found some choice areas where we could capture distorted shots like stairwells down alleyways, at the bottom of slopes with low angled shots, shadowed archways and even an upper floor pub garden where we could shoot a high angle down to the street below. The clock-tower shot was filmed separately another night and edited in.

We similarly planned on filming Jim’s external scene in a dark alleyway in Guildford with suitable lighting so his silhouette could be seen walking away.