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Having landed the role, Harriet was extremely dedicated during the rehearsal period (and highly resiliant during the shoot).
I also liked her spirit - she was the only auditionee for the part of Racquel who tried to hit me at the audition...
Harriet started her training in classical ballet at London Junior Ballet and The Royal Ballet School in their Senior Associate programme. She then went on to train at Elmhurst Ballet School and has recently graduated from the London Studio Centre with a BA Hons in Musical Theatre.
During her time there she performed at the Royal Albert Hall in 'Classical Spectacular' and featured in television commercials for Sainsburys and Apple. Since graduating she has worked in television (most recently creating the voice of 'Rosie' in the BBC Cartoon Series 'Everything's Rosie'), theatre as an actor/singer/dancer and model. This has been her first experience of working in film which she has thoroughly enjoyed.
Her enthusiasm for the martial arts skills learnt for The Special Effect in no way reflect a lack of interest in presenting Blue Peter or auditioning for Legally Blonde.
(The practice of hitting Directors at castings is generally not advised.)
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The consideration that Sal had given to the script and character was evident at the audition. His sensitive and unique audition performance is what got him the part...
Salvatore has gained a lot of screen and theatre experience, attended many workshops. He's even worked behind the camera and backstage and yet is still wondering what the hell he has to do to get on Eastenders.
He found his martial arts and stage combat experience particularly useful in The Special Effect and feels these skills can be used to good effect in future productions, especially as they help him vent his anger and frustration about his acting career.
Salvatore is happy to work for money.
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Impressed by her previous work, I specifically wanted Sarah to be in the film and was delighted when she agreed to audition...
Sarah has a strong and diverse background in film, theatre, radio and commercials.
She is constantly seeking roles that will allow her talent to shine and that don't stereotype those with Down's Syndrome.
She will be very happy to hear from you, especially if you have attractive men on set to flirt with.
To find out more about Sarah, visit her web site: sarahgordy.com
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The part of Paul was particularly difficult to audition for as I openly didn't know what I wanted until I saw it. Phil found "it" in a simple and realistic interpretation of the character and that's what got him the part...
Philip trained at the London International School of Performing Arts
(LISPA).
You can find out more about him at philipgyford.com
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The Screenwriter in me wants to scream that the idea for this film occurred ages before the saturation of 'alternate takes on the superhero thing' that have since swamped the media, just so people know.
The Self-Promoter in me is telling him to shut it and retain some dignity.
The Director is simply very happy with the film and can't wait to get onto the next one.
The Producer is asking why he doesn't get a special mention and its because producing The Special Effect was a necessity, not a career choice.
The Financial Advisor is now awake and telling all of us that outside funds are an essential requirement for future films.
I'm currently developing screenplays for more short films, feature films and television.
If you'd like to find out more get in touch. |
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This is the second time Arun and I have worked together. It was at his recommendation that we shot The Special Effect on Red One and he deserves the credit for getting all the equipment for the shoot at a price that enabled the film to be made to the standard it is. His experience in the industry also helped to bring together a good-humoured, committed and knowledgable technical crew.
On shoots that are tight for time, it's great to have a DoP on board who is competent, level-headed, calm and aware of time constraints whilst accomodating the requests of a Director eager to make every shot "just so".
Visit Arun's web site: Unit 1 Studios & Sausage Productions |
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Miriam has a natural talent for managing and co-ordinating. Maintaining a sunny disposition while being fully focussed on the tasks at hand result in her, unfairly, being more generally adored than the Director.
The Special Effect is Miriam's first film as AD. She was the perfect choice as she involved herself happily and professionally with all aspects of the process, offering opinions from script & casting to post-production & festival submissions as well as providing invaluable support for me on the shoot.
Miriam has since been awarded a diploma in Production Management from the London Academy of Media, Film & Television. She is currently writing screenplays for her own short and feature as well as working as Production Manager for my next short film.
You can contact Miriam via Certain Things. |
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I don't think I could have found an editor who would have been more dedicated, meticulous and passionate about the project. With a strong background in Soho's editing houses, I was very pleased when Ricky agreed to take this on.
As a result, he's now the man that many editors in Soho are approaching to find out about editing with Red footage.
As well as editing the project, he also gave his full attention to the technical issues that arose in post-production, Tom & The Joint for the initial colour grade and Pink Pigeon for the DVD duplication.
It's no secret that, due to the lack of funds at post-production stage, The Special Effect had an arduous journey to become complete. During this time Ricky, Miriam and I aged considerably, however, I can consequently claim a sacred spot in Ricky's life. To quote him word-for-word: "this is the worst experience of my career."
I look forward to working with him again. |
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Ean "The Ears" Currie is the sound department for The Special Effect. I was extremely happy to have his expertise and humour present on the shoot and feel extremely lucky that he offered to also work on the post-production. His commitment to the sound design and music has undoubtedly taken the film to a higher level.
Working with Ean, I learnt that the role of Director has many possible prefixes (F***ing Director, B*****d Director, etc...) |
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Jenny has worked as Producer on several short films. For The Special Effect, she oversaw all the legal aspects of the project as well as helping to locate some props and costume items.
Being a solid guardian of the green room and catering for the shoot meant that she missed out on most of the fun stuff. Still, we did manage to drag her in for the group photo. |
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Appointing an Art Director for the film happened inexcusably late in pre-production. With less than two weeks to go, Jenny came on board and during the shoot worked with Meriel, Anthony and Peter to help create the desired look.
I was especially impressed with her attention to the smallest details. Since working with Jenny, I cannot eat black wild rice without checking to see if mice have been in the cupboard.
Jenny is an art department girl, with sets on the mind. Throughout the prep and filming of The Special Effect, she spent a lot of her time making things look really old.
A lovely project in which she totally trashed a school... then made it better again.
Visit Jenny's web site: JennyRay.co.uk |
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Click the images below to compare how we turned the storyboard into the film:
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I feel very fortunate that so many talented illustrators chose to collaborate on this film. Due to the amount of illustrations submitted, I was not able to use them all in the final cut. However, so that you can see the complete range, I include them below for your perusal and delight!
Here you can find which illustration was created by which illustrator, their contact details, links to online portfolios as well as download each one as a screen background for your PC or Mac desktop (multiple screen resolutions available). |
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Illustration by Thor Aaberg
Visit Thor's web site: thoraaberg.com
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Illustrations by Florence Bamberger
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Illustration by Dekor
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Illustration by Michael Gambriel
Visit Michael's web site: mikegambriel.com
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Illustrations by Danuta Gralik
For work-related enquiries, email: danutagralik@yahoo.co.uk
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Illustrations by Darren Hall
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Illustration by Stuart Hall
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Illustration by Amberin Huq
Visit Amberin's web site: amberinhuq.co.uk
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Illustration by Laura Hutchins
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Illustration by Amanda Jeffries
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Illustrations by Cody Kiyabu
For work-related enquiries, email: codykiyabu@gmail.com
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Illustrations by Cody Kiyabu
For work-related enquiries, email: codykiyabu@gmail.com
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Illustrations by Catriona Maciver
For work-related enquiries, email: catjo10@hotmail.com
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Illustration by Palomo
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Illustration by Lloyd Peek
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Illustrations by Hollie Preece
For work-related enquiries, email: holliepreece@gmail.com
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Illustration by Tim Prescott
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Illustration by Tim Prescott
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Illustrations by Samantha Raymond
Visit Samantha's web site: inkblotsandscribbles.com
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Illustrations by Sarah Swinfield
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Illustration by Lea Wade
Visit Lea's web site: lea-lan-jam.com
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Illustration by Joe Ward
Visit Joe's web site: joewardillustration.com
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Illustration by Richard Webb
Visit Richard's web site: rgw-illustrations.com
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Illustrations by Chris Wilder
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Alsford Timber, Surbiton
Matt Askem
Lucy Bennett
The Berwick Street Cloth Shop
Bramwell Crafts
Nicholas Burrage
Nicola Dietmann
Tom English
Extraordinary Casting
Stephen Fingleton
Joel Gilbert
Jane Gordy
Hung Leng Kuen Kung Fu
JoeMac Ltd
The Isleworth & Syon School |
Richard & Holly @ Jerwood Space
The Joint
Emma Little
Rhys Llewellyn
MENCAP
Tony Maher @ On Sight
John Myers
Party Domain
Pink Pigeon
Nick Prescott
Prestige Textiles
Jono Smith
Kip Thompson-Born
Alison Webb
Alan Zafer
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The Special Effect ©2010 Tim Prescott
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