The Jigsaw of Life Production Notes
Mark McDermott started to develop the initial ideas behind The Jigsaw of Life back in 2002. Mark was also working on a number of other film ideas at the time, and so it took some time for The Jigsaw to really start developing. In 2003 Mark assessed where all of his films ideas were up to, and took some time to decide which one was going to be his first feature. Mark came to the conclusion that with all of the resources at his disposal at that time he could best do justice to The Jigsaw of Life. So scripting then began in February 2003 at an old Cottage in the Cotswolds, and The Jigsaw of Life was born.
The script was written on and off for the following five months. Mark then went on holiday to Greece in July 2003, and it was here that the majority of the script was written and pulled together. Mark planned to make the film in the summer of 2004, and over this next year the script was to go through many drafts and take some dramatic shifts in direction. One of the most notable shifts was just three months before production!
Mark recalls the moment he developed the script to another level very well. “I was in the process of putting my creative team together, and was holding provisional meetings. After one meeting, I remember suddenly having a vision of what the film could be. I felt the script was good. But it was lacking something. It was missing that vital ingredient, which you can’t just put your finger on. It was missing the hidden quality that needs to be embedded into the film to make it special. I realised the potential of the whole idea, but parts of the current story were just not realising it at all. I locked myself away in my office and started on the next phase of development. I was ruthless, I went through the script and just started cutting loads out. I had a barrage of new ideas and directions, and the script finally became all it could be.”
Mark started to bring the crew together in April 2004, and planned for production in September time. Vanessa Judd was one of the first members of the team, coming on-board as Producer. Seb Stern was also brought in early as Assistant Director.
The question of finance then came up. Mark – “I did consider seeking some investment for the film initially. However, I felt that although I could tell people what I could do, there was little solid evidence to back it up. In my early career steps so far, I have also had a strong resolve to do things myself and not rely on others. I’m pretty determined to make my career happen, and make it my way. So I decided that the best way to proceed was to make the film off my own back and fund it myself. I knew if I pushed through to get this film made, this would be the best evidence I could provide of what I can do. It was hard work financing it all myself, I think the budget came in at about £10,000 in the end altogether, but it has definitely been worth every penny.”
Auditions were prepared for July. A venue was booked in Oxford and casting notices were sent out. A vast number of applicants submitted their details. The most promising were then invited to attend the casting sessions. Mark, Vanessa and Seb oversaw the casting panel, and Chris Douch, a Production Assistant, filmed each audition.
Seb recalls the casting sessions. “It went very well. There were a lot of talented actors, and I was very impressed generally. We would have brief introductions and then they would read a section from the script, which we had sent them beforehand. We then had a 10 minute chat with them, trying to ascertain what they thought of the script and the character they were reading for. We would also talk generally about them and their hopes for the future. It was really important for us to have people with a good, positive attitude, as well as being talented and right for the part. This really paid off, as we moulded a cast that was a joy to work with, and we all had a lot of fun on set, which I think comes through into the film.”
Although these audition sessions filled most of the cast positions, the three main characters were still vacant. Mark - “The three leads were essential to get absolutely spot-on, as it is these characters that drive the film. The right actor can make a film sublime. A poor actor can make it unwatchable. I wasn’t prepared to compromise, and I wasn’t going to settle for second best. So we had more castings, and more, and more. We found Lauren a couple of weeks after the main auditions, but it was getting pretty late on in pre-production when we finally found Nick and Kelvin. As soon as I saw them I was sure they were exactly what we needed. I showed the tape of their auditions to Seb and Vanessa, and they agreed. We finally had our leads, and the film was taking shape. It was a very exciting time.”
Pre-production took about two months all told, with most of the logistical planning taking place in August. Planning included finding and securing all of the locations required, developing the production timetable, sorting accommodation and transport, purchasing the final bits of the equipment needed, and putting in place the final members of the team. Mark – “It was a full time job. I was on the phone, emailing, and holding meetings, as well as working on the creative side of things. I was busy planning the shots and trying to get the film storyboarded.”
Mark and Vanessa had regular update meetings, and between them they planned the whole production. This preparation was certainly to pay off, as everything ran like clockwork when production started, and it needed to with the tight production schedule planned. Mark – “It was short. It had to be, as we just didn’t have the money for shooting to drag on. So I planned a very compact schedule, of just 13 filming days. I planned in detail what would be filmed where and when, and we pretty much stuck to the schedule, which was great. Actually we didn’t even use the last day, we wrapped a day early! Some of the shooting days were very fraught though, I remember working for 21 hours on one day. It’s fair to say I was a bit dedicated!
I asked a lot of the cast and crew at times. On the first day of filming we were over-running, which was natural as we were all settling into things. It was getting late after a very early start and nerves were getting frayed. I could sense everyone wanted to shut down for the night and continue the next day, but I didn’t want to throw the schedule off on the first day! So, I decided to push through and get the scene done. Everyone reacted the right way, and we got some great performances. I feel the edgy atmosphere created from the tiredness really comes across onto the screen, and enhances the impact of Keith and Clara’s showdown.”
When asked about the film, virtually everyone involved quickly says that they had a great time and the atmosphere was superb throughout the production.
Mark – “It was always my intention to cultivate an enjoyable and happy environment for the cast and crew. I feel that it is the backbone of shooting, and people tend to give you that bit more commitment when they believe in what you are doing, are feeling valued, and are having fun too. It no longer feels like work, as you are enjoying it. It was great, and when it was all over I certainly missed it for a few weeks.”
One aspect that was very concerning in August was the weather. It was wet, very wet, and there was not a lot of sun. This represented a bit of a problem as there were a lot of outdoor scenes, and some of these demanded sun.
Mark – “I was praying for an Indian Summer. I heard on the news that we may get a nice September, and I hung on to this! I’m sure fate was with us actually, and for some reason I always believed that the weather would do us justice, and we couldn’t have asked for it to be any better than it was. When we needed sun, it shone through. When we needed cloud, it was duly overcast. And then the moment of magic came. We were filming the final scene of the film out in the countryside. We just got the shot, I shouted ‘cut’, and the heavens opened. It was torrential! We covered the equipment and started making our way hastily back to the house. Iain, the Camera Operator, and myself, were ahead of everyone else. The rain stopped and we then noticed a beautiful double rainbow in the sky. It was quite startling. Before I had the chance to tell Iain to set the camera up, he was already doing so. I shouted back to the others to get out of the way, which they did by jumping into a bush, and for Nick to walk in-front of the rainbow. It is a magical shot, and provided the x-factor that we were searching for in the final scene of the film. Those moments you can’t plan for, you just have to be ready to act when someone upstairs is giving a little helping hand!”
There were a lot of actors coming and going, as the film travelled through many places and eras. However, all the actors have earned high praise from the team. Seb – “We were very lucky really. Everyone just came along and did their thing, and they were all excellent. The main parts were obviously superb, but all the actors just coming for an hour here or there, all slotted straight in. They joined in the group, got carried along with the camaraderie and gave great performances.”
Four children were also involved with the film. Harry, who played Duncan, had the greatest challenge. He was in a number of scenes and had to convey a range of emotions. Most of all it was important that the audience took to him, as without feelings for him and his plight, they would have little sympathy for the problems of the adult Duncan. Mark – “Harry was great. He is quite a character, and was full of energy. He got on very well with Nick too, which was nice. All the children did us proud. Archie also had a difficult part to play, as Keith and Clara’s child. He was involved in the final barn scenes, but he handled it all very well indeed.”
Shooting finished on Tuesday 21st September, and the team made straight for the pub! Everyone was delighted with what had been achieved, and a big celebration ensued. Mark then went on holiday to Cyprus to recover his energy.
Editing began on his return and continued until late January 2005. Mark wanted an original score for the film, but also wanted to put some band songs in, especially in the University scenes. Mark listened to a lot of music and was finally able to agree the use of seven excellent songs from the up and coming bands Exist, Telex and The Long Weekend.
When editing was completed Mark then forwarded the film to the composer, Aaryk Noctivagus. Aaryk spent two months developing the original score and this plays a vital role in the emotional impact of the film.
Mark – “I’m thrilled with the final film. It has exceeded my expectations, and I really think it has become greater than the sum of all its parts. I can’t wait for people to watch it, and I hope they can feel the depth and meaning that I have tried to layer into the film.”