The opera music echoes around the wood paneled walls of the billiard room. Over by the fireplace someone is tweaking the position of a century old rolling ashtray. I regain focus and return to our current task of lighting the suit of armour in the corner. Minutes away from our first shot, I leave the set and stroll past the bowling alley and down the hall of the largest mansion I’ve ever set foot in. I find our hero talent in the servant’s kitchen –er… holding area. We’re ready to shoot.
We scream through our shots in the billiard room, and move on to the dining room. Followed by the grand stairway. Then the sun room. And on, and on. What started out as a three shot campaign has somehow ballooned into seven shots and seven different setups. To top it all off, we have to delicately dance around all the priceless artifacts and décor in the hundred year old mansion that is our location.
15 long hours later, the last of our gear is packed into the truck. A minor emergency ensues when we realize the wheel of cheese prop has been locked inside the mansion. I am not leaving without the cheese. The crew surrounds the house, tracks down the security guard, and the cheese is recovered. Crisis averted.
Projects this good don’t come along very often: a shoot day in a fantastic location, a great concept, a crew and creative team that push the limit to make every shot the best it can be, and above all a client that is open to such a unique campaign. My only regret is not banging out a tune on the built-in pipe organ.
Thanks to Dan Bache, Geoff Morgan and the crew at Giants & Gentlemen for such a great project. A huge thanks to our crew for making this happen: Stephen Connor at Pinpoint Locations for finding the perfect location, Anita Cane and Kirsten Reader for making the guys look their best, and to the tireless assistants Abe Roberto, Ian Patterson, Mike MacMurchy, and Spencer Robertson for all their hard work.
Oh, and I highly recommend getting your hands on a bottle of the fine wine that is 19 Crimes.