BENEDICT CUMBERBATCH (DAVID)
It’s great to play outside the usual casting demographic and to be asked to improvise with a group of actors whose work I have admired as an audience. Dictynna knew the world and background of her characters stories with tender detail and still let us explore our own ideas about them. David is a complex one and understanding his past was key to making sense of his actions although I think in the final edit there is a good ambiguity that allows an audience to reach for clues or understanding instead of the usual passive drip feed you are patronised by when it comes to the whys what’s and wherefores of a fictional character. Much better to let an audience play detective than have everything explained and then forgotten about.
Certain freedoms are great with a tighter budget and yet there are also new restrictions. You are limited in the number of set ups or the complexity of lighting and coverage but that starts to dictate a style that you have to embrace. Dictynna was infinitely patient and flexible and Annemarie was ever inventive and a strong voice on blocking as her framing often had to contain the whole scene. But there was a guerilla film unit flexibility because we were so small that often meant less time between takes and set ups so it was easier to get a rhythm going. However night shoots in the cold on a budget are never fun! But that is a reality whatever the circumstances of the production. It was great to do work for a less experienced crew and director who are finding their voices and skill sets and to learn with them. I always feel like a beginner on every job so you get close to people when you share that experience. Go team Wreckers!