DAY TWELVE – SCLUB FIND THEMSELVES IN THE MAZE ON THE WAY TO THE CLONE HOUSE. In the original script this scene was going to take place at night and the band were going to leap over a wall and emerge dripping wet from a swimming pool. Alan had always wanted to shoot at the Maze since his arrival to shoot the SClub series so the band find themselves entering the labyrinth in full sunlight instead – for a movie like ours, shot at a furious tempo, this is a wise decision both artistically and creatively. There is much to do today – we will be shotting 16 scenes and I’m impatient from the start. I lose my flow at sandwich break when we have to take the camera off the crane and shoot alternate scenes while the crane is being rebuilt – are the band going left to right or right to left? Should they be quietly stalking or running? Is Rachel’s sweater losing it’s wool fast enough? At lunch-time Louis, the Making Of guy and his team inteview me. My replies are cocksure, stupid and not entirely enlightening and I’m sure I’ll pay the price for that later. When I reach the lunch line there’s no food left and my mood is not improved by the jobsworth at the park gates who refuses to let me use the loo. I’m tempted to return later in the night and relieve myself against his shed out of spite. The afternoon is filled with Hannah and her glove puppets, Mr Walker and Rafferty, who attempt to calm the two large and ferocious German Shepherds we have on set. It should be noted that Mr Walker and Rafferty hit their marks better than the German Shepherds but with the sun starting set we need to move on. We arrive at the wall I have so carefully storyboarded and photographed only to find that, like the beautiful park gates we had our hearts set on, we cannot shoot there. I had no lunch, no bathroom break and now no wall. The day is getting to me. We scramble to find another wall and light it in the remaining minutes. We shoot one of the dogs racing at a stunt guy who takes a big bite in the butt of his leather reinforced pants on Bradley’s behalf – ouch, and scramble to shoot Jon and Rachel pulling the real Bradley over the wall. It’s getting very dark and Joan and his gaffer, Adria, struggle to light the scene. Finally after all the prodding I’ve given him today Joan loses it and throws up his hands in desperation. “Ican’t do this,” he yells, “it looks like a studio picture.” “Great!” I reply, “at last I’m shooting a studio picture – get back to work!”