Lights Camera MGB
As with most things MG, the start of the process that ended up with my MGB GT being used during the making of a feature film was a chance remark. “Hey, John. You’ve got a chrome bumper GT – what are you doing on Wednesday?” Within minutes, my questioner, who had been contacted by ‘someone, who knew someone, who had a friend that had an MG’, was on his mobile phone to the contact from the film company. A brief discussion then, was followed by another the next morning during which the scope of use and time-scale were discussed. And so it was that the day after I make my way to ‘unit base’, a house near Crystal Palace in South London to meet said contact, Tom Leeburn the Unit Production Manager for Pensmith Ltd, the production company.
Tom outlined what would be happening, and where, but at this stage, I had very little insight as to what the film was about, except that it was called ‘Too Much Too Young’, and was about two South London twenty-something brothers and their exploits. At this time, most of the crew and participating actors were filming at another location and were due back at any time for lunch. It was at this stage that I had my first insight into the movie making business; nothing happens unless people are fed and watered. My second came after lunch, when it became clear that various seemingly unrelated scenes are all filmed together and then put together later. Part of ‘Post Production’, I am told. My third insight also came during that first afternoon which recalled a comment made by an airline pilot friend when describing his job as “…hours of boredom punctuated by seconds of action!” There is a lot of waiting around on a film set!
Shot being set up in Dulwich High Road
Late in the afternoon it is time for the first filming involving the car to take place. Actor Adam Croasdell, who plays the car’s owner, Baz , drove the car for familiarisation to the location at Dulwich High Road, where we arrived at the peak of the rush hour. This, I thought, will be interesting (I hasten to add that Pensmith had made all the necessary insurance arrangements). The action was fairly straightforward, Baz, accompanied by brother Vic, played by Steve John Shepherd, drive up outside a florists shop, park the car at the kerb, get out and approach the shop. The scene is probably around 45 seconds in length, and is rehearsed a couple of times prior to the actual take. It is here that you see more of the various behind the scenes activities that go to make a film: continuity, who make sure that things like clothing, shoes, watches and even hair are correct (in this case for a previous scene in the film that was still to be shot). Polaroid photographs are extensively used. The sound engineer who checks not only that dialogue can be heard, but that extraneous ‘noises off’ do not intrude. The 1st Assistant Director, a lady named Rachel Sutherland, who knew just what she wanted to see, and who was going to make it happen, and how. Makeup, costume, grip, electrical; they were all involved. I never did see a ‘best boy’, but there certainly were a number of pretty damn good girls. It was also very strange to see (and hear) your own car being driven away by someone else; an odd feeling.
This shot over, it was off to another street in the Crystal Palace area to film the scene before, if you see what I mean. This time en route, my passenger was Stuart Fenegan, the Producer, who gave me some background to the film, how it had come about and some of the problems that he, as the producer was faced with. Although the film was considered to be a comparatively low budget production, Stuart explained how easy it can be to go over what was already a tightly controlled operation. I was impressed by Stuart’s passion and enthusiasm for the project and how youthful he appeared to be for a Producer. In fairness, the whole team were young and energetic, and given the work rate and effort that I saw, they needed to be.
This second shot of the day for the MG, and the last for the crew, was in a residential street, and was of Baz and Vic leaving their house, getting into the car and driving up the street. The sight of a film crew with all the attendant equipment and the MG brought out the local children who were all keen to know what was going on. It was good to see real South London banter between them and the crew who took it all in their stride. A couple of rehearsal runs, and another couple of actual takes, and that was my first day as part of a film making process over.
The MG was not required for another ten days or so, when the location was Epsom Racecourse in Surrey, on what turned out to be a very hot Friday. On this day, as far as the car was concerned, the ‘action’ took place in the car park of the racecourse, so no driving was involved. I should point out that prior to each day’s filming, a Call Sheet is circulated to all involved, giving location, timing, who is required where and when, and a list of the scenes to be shot during the day. It was from the Call Sheet that I read: ‘Scene 11 – Ext. Racetrack Car Park: Baz and Gloria head to car for some hanky-panky’. Intrigued? It immediately brought to mind the advertising slogan … You can do it in an MG. But my “B”?
Vic & Baz played by Steve John Shepherd and Adam Croasdell
Shot set up at Epsom Racecourse
Gloria, played by Phoebe Sweeney at Epsom Racecourse
Director Trevor Smith talks to Baz prior to the ‘take’
Chin Okoronkwo sets up the camera prior to the “trashing” shot
The set up for the lighting and the sound was a little more complex for these scenes, as some of them involved filming into the car. Microphones taped to various parts of the car interior and external reflectors to light the inside were used. My intrigue was heightened by the request that all non-participating personnel move well away from the area during the shooting of one of the scenes, confirming that someone’s modesty was probably being protected but no, it definitely was NOT one of THOSE films. The actress who played Gloria, was a lovely young lady named Phoebe Sweeney who was outstanding in a number of areas, and during the course of the day, a deal of banter ensued about whether the ‘hanky-panky’ was catching, and the MG never being the same again.
As a first time observer of the film making process, I was impressed by the professionalism and hard work that was put into the project, and the behind the scenes effort and activity that goes on to actually make things happen. Without taking anything away from this production company, it was no James Bond shoot, yet the attention to detail and the commitment of everyone involved was clearly evident.
The last occasion that the car was required was the next day, Saturday, another hot one, which found me searching for a car repair workshop in the middle of an Acton, West London trading estate. This was the location where the car was going to be trashed. At this stage, I had still yet to grasp the full outline of the plot, but was filled in by various of the crew that in the story, Baz and Vic have incurred the wrath of their garage owning boss, Frankie Bridge, a ‘Sarf London’ business man with heavy habits. The boys had ‘borrowed’ Frankie’s Jaguar for a spot of docklands night-time racing, and ended up driving the car into the water. Understandably, Frankie is none too pleased, and ultimately takes his displeasure out on Baz and Vic and their MG as well. An eye for an eye, a car for a car.
There was a lot of good-natured banter during the day about currency of insurance and dummy sledge-hammers. Of how slippery and unreliable props can be (a very convincing rubber replica hammer had been produced at significant cost) and quips about film people being notoriously prone to getting carried away in the heat of the moment.
It was during the break for lunch, with the tension rising just a little, that I had the chance to talk to Trevor Smith, the Director and writer of the screenplay. Trevor was a self-confessed petrol-head who had grown up with 60s and 70s cars and had a soft spot for classic cars, who told me that he wanted to bring a motoring element into his film.
The day wore on, and at about 5.00pm, the inside shots were completed, and the camera tracks set up for the ‘trashing’ scene. More quips, more banter and a couple of runs through, including swapping the rubber hammer for the ‘real thing’, just to see if our ‘thug’ actor noticed. All good fun. He was brilliant. The swings at various parts of the car were so convincing, stopping just before contact. The damage, I was told, would be put in as part of the post production work. A couple of actual takes of about 60 seconds, and it was all over. The car was needed no more.
The remainder of the filming carried on over the next five weeks or so, and due to being on holiday in France, I missed the end of shoot party, but hope to have an opportunity to go to the first screening. I did, however, eventually find out the full story of the film courtesy of Trevor Smith, who sent me a copy of the script. Now it all makes sense.
I understand that the post-production and other activities related to the making of the film indicate a completion date of spring this year. The intention, I was also told, is to debut the film at the Cannes Film Festival.
I had a most enjoyable and informative three days during part of the making of ‘Too Much Too Young’, and the car came away without a mark.
Mind you, a few days later, there was a hanky found under the driver’s seat.
John Reynolds
A realistic swing – but the hammer was rubber!