CATCH
FROM THE DIRECTOR'S CHAIR
"David opens up about the creative challenges,
breakthrough moments, and pure magic
that bring CATCH to life"
#1 The Art of Controlled Chaos
"By failing to prepare, you're preparing to fail." — Benjamin Franklin.
It's a tricky balance. Part of me loves surprises, but for the most part, the mechanics of filmmaking—especially fiction like dramas and thrillers—is about avoiding drama on set. In many ways, it's methodical, orderly, and disciplined. There's set discipline and etiquette. That's not to say it isn't enormous fun at times, but the hope is that we keep stress levels down while energy levels stay up.
​
However, what gives me the greatest buzz isn't just seeing and hearing your words on the page come to life, but those moments when on-screen talent brings something extra—something magical—to a take. It could be as simple as placing different stress on one word. Often it's in the nonverbal: something in the eyes that shows how deeply connected the actor is to the role and the moment.
​
There were many such moments while shooting CATCH. Moments when the crew were deeply moved, and moments when we were captivated by the performance.
In front of camera, we can expect the unexpected and hope for magic moments. But only when those behind camera are prepared and professional — (for example, when actors feel confident that their best take won't be ruined by technical incompetence or some disrespectful behavior in earshot!) — do we provide the safe environment that gives our talent permission to deliver more than we ever expected.
​
I'm only at the start of the editing process, but I think we captured something truly special.
#2 Genesis
So where did this all come from, this short film, CATCH? Rather than the prog rock band or the opening scenes from a blockbuster holy book.​ I'm a little scared to look back at my notes and drafts - they have dates attached and there's no escape from the truth. It's been too long. But in mitigation, I have been busy.
​
CATCH started as a feature that my friend and fellow writer Alistair Audsley suggested would make a great series. Then we changed our minds at least one more time. Meanwhile, I had sketched a few episodes with one or two completed drafts.
When somebody said some nice things about my prose and action sequences, I took a hint and thought I'd tackle the novelisation of the incomplete six-parter. See if it worked.
​
I guess I learned that these novels and screenplays are marathons, not sprints; not even 1500 metres.
​
Why start with the novel? My plan was to explore the characters and plot in more depth, then return to the screenplay once I'd finished gallivanting. So I found myself knee-deep (130,000 words) in prose. I discovered I really enjoyed the process. Writing is fun. Satisfying. Cathartic. Self-generated escapism.
​
So you finished the novel and screenplays, then? I hear you ask.
​
Er… Well, I got stuck on a few plot points and I decided to clear my head by writing the novelisation of my already completed series screenplay - THE CLEARING. Yes, I get obsessive. I ended up finalising and publishing that book first, THEN decided to complete the accompanying audiobook (narrated by the lovely Rachel Bavidge) before returning to what's now known simply as: CATCH.
​
Oh, what a tangled web we weave, when first we practice to conceive the next bestseller…
Following so far?
​
Then along came my friend and actor Jeremy Theobald, who helped kick my act into gear and get something on film.
​
CATCH is more than a short. It's a six-part thriller and novel in waiting. If you're well-behaved, I might share a chapter or two at some stage. The longer-form versions diverge quite early and take on completely different lives of their own - so you can enjoy both the short and the long.
​
Right now, my focus is on working through the edit and fine-tuning the short film, but I can't wait to complete the full-length novel and screenplay.
​
If you can't wait for something more substantial, check out my first psychological thriller THE CLEARING - available on Amazon, Audible, and other outlets.
I'd love your feedback. (Though if you hate it, maybe let me down gently...)
#3 Why You Should Never Trust a Director
​So what happens is: you shoot what's called Principal Photography. That's the main bit. Script, actors, lots of crew and schedules, catering and adrenaline.
​
Even before you get to the edit, you start looking at the little pickup shots that can help tell your story, punctuate and generally enhance what you already have. For instance, I have planned another trip to the Calf of Man. I want to capture the atmosphere of Birdie's home and add more texture to the nuts and bolts of the core story.
In the big bad world of movie making this is often achieved through what we call the Second Unit.
​
Second Units do all sorts of interesting things when the actors are not around. On a major production, they can be shooting while the main unit is busy at the pointy end of a film.
​
You need a top shot of your hero's car hurtling down the highway?
​
You want an establishing shot of the New York skyline or the building where the action happens? (Or in my case, the lighthouse cottage on the Calf of Man)
​
But this is a short film with a very small budget. I am the second unit director and the main unit director too.
Hopefully, I'll succeed in seamlessly integrating those additional visual moments that add value to the viewer's experience.
​
I am not going to tell you in advance all of the secrets, as that sometimes distracts from the movie itself. Please don't look for them! I will, at some stage, AFTER you have seen the short film, spill the beans on some of the interesting pickup shots that we shuffled into place. All for your added enjoyment, but not enough to distract you or take you away from the moment.
​
In fact, when I watch a movie, even though I know which shots are likely to be second unit pickups, I switch off that part of my brain and suspend my disbelief that what I am watching isn't something made up of a thousand disparate shots, shot completely out of sequence, at different times and composed of millions of frames of still images that give us the illusion that conjures the magic of cinema.
​
Maybe that's why you never hear the phrase: Trust me, I am a film director.
#4 F*** it. I Can Do This
Sometimes at the end of a shoot, when the last 'cut' has been called, I stop and think: did we really do that? How did I get through this unscathed?
The pressures on a film director are intense. Several atmospheres intense. Although filmmaking is indeed a team effort, it all comes back to the director when something goes Waterworld-shaped. You'd think we're all hermetically sealed self-belief, verging on hubris. But the reality, for me, can be sprinkled with self-doubt and a justifiable array of neuroses.
The dice have to tumble and reveal a six at each throw for:
The funding, the perfect cast, having the cast available, hoping the cast don't fall ill just before the shoot, banking on the dream-team crew's availability, location availability, then there is the weather…
​
And on and on…
On a short film, the odds are definitely against you. You only have six days to shoot. Six days to juggle locations and partner with workable weather. It wasn't that we couldn't shoot in rain, but if Mother Nature decided to blow that wind from another direction on the day we needed to sail to the Calf of Man...
So there's all this neurotic noise that you try to filter out as you disengage your logistical hemisphere and crank up your creative one. You start trusting that months of preparation and contingency planning, combined with a solid team, will cocoon you from the urge to give up and run away.
The thought of possible failure is always there. Please watch the brilliant film-maker nightmare: Lost in La Mancha - https://www.imdb.com/title/tt0308514/ it's enough to make you wonder why anyone would ever want to be in this crazy game.
But you need to believe that, despite your fears, failure isn't really an option. There is a point of no return. A point when you just have to say "f*** it, I can do this. This will happen."
And then it does. It all falls into place and you're there on set, with expectant actors and crew waiting for the first slate to be called, all eyes on you. All thoughts of, 'shit, am I really capable of pulling this off?' transition into the blinding white light of the moment. Focus. One scene at a time. Breathe,
You have to keep telling yourself as you pinch yourself a: yes, I am really doing this!: and b: I am one lucky and privileged human given the ability and opportunity to create something worthwhile from nothing. Something from pure imagination. Something to share with a fellow lover of film. Of story.
They may hate it. Or pretend to love it.
But you did it. In spite of the odds, you did it.
And then you realise that anxiety and self-doubt will be hanging around for a little while longer. Ah, well. Back to the edit…F*** it. I can do this.
#5 The Space-Time Vortex that is…POST PRODUCTION
Yes, I know, I know. Don't go on at me. To say I have been busy is an understatement, and all of my time in CATCH universe has been on the planet of post.
There is the timing thing as well. I did want to post earlier, but wanted confirmation that the cast and crew screening AND the festival entries are within reach.
It is so easy to overpromise in this mad world of film. I had hoped to turn this around sooner, but I would much rather get it right. Just right.
Picture is locked (tech term) - basically means that the editor(hello!) has downed tools and abandoned his relentless tweaking and has handed over to the polishers and fine-tuning elves.
We are pretty happy with the look/grade and we are testing out on many screens. Little nips and tucks hither and thither aside, we are nearly there.
There have been some trickier compositing tasks(image replacements) that really suck the hours into a cocked hat. But they are all about locked down, too. And I will only have one little rant about the fact that many days were lost to some crazy software glitches, which I am only just about recovered from. (Grrr. Breathe deeply. Calm, Calm…) I blame the solar storms.
Just the title sequence and the soundtrack to complete. And we are well on the way with that. Music can make or break the mood of the film and I'll be making more announcements about the state of play as the final furlong is approaching.
Over the next few weeks and months, as we progress the release of this Bird into the wild, I will be giving you more of the behind-the-scenes glimpses and more posts to enlighten you even further!
Cast and crew screening; we are just about to set a date in stone and I will let you know - hopefully we'll be able to invite some of you down to the show. PLEASE watch this space!
As we near the end of the post-production process, it is a great time to reflect on the amazing journey that got us this far: the talent in front of and behind the camera, as well as all of the wonderful support that we received along the way from individuals as well as organisations. Quite a responsibility to make sure this film is worthy of all of that.
When you see it, you will understand! Not long now. Tick-Tick-Tick.
Back to my happy place in front of my screens, working on a project I love.