The Proposal

What stage is it at?
Development.

What direction will your film take?
"The Reunion" is intended to be an art house film and very much a European film, not a full length US style movie; nor is it intended for TV although it would fit into a strand; it is neither straight genre or commercial.

What is the track record and previous work of the writer/director?
Geoff Pridmore is a writer/director/actor. Throughout the 80s and 90s he toured primary schools across the South and West of England as a Theatre-in-Education artist performing his own one-man show “Alfred the Great!” (based on the true life story of the famous King of Wessex). Geoff studied method acting first with Oxford Drama Programmes and later under the tutelage of The Gate Theatre director, Lou Stein. As a drama student he appeared at the Edinburgh Festival Fringe in 1985. He has also appeared in various amateur productions and in the film “Fallacies of Vision” set in Warminster and made by Digby Rumsey.
In 1991, he set about producing a documentary for TV entitled: “The A39 – A Westcountry Road”. Two five-minute promo tapes were made on 16mm and Beta respectively and the idea was well received and even supported in development by professional broadcasters; however, with the uncertainty of the franchise renewals in the independent broadcast industry at that time the co-production requirement needed was not forthcoming from the ‘new’ Plymouth based Westcountry TV and so the project was shelved.
A freelance writer of various articles for magazines and newspapers, Geoff studied journalism at Falmouth College of Art and Design between 1995 and 1998. As a undergraduate, he was a winning finalist in the BBC Radio 4 series “Fresh Air Media”; his tape entitled: “Amateur Actors Talking” was broadcast on the 20th August 1998. Shortly after graduation, he wrote his first book “Teach Yourself Journalism” published and commissioned by Hodder & Stoughton Educational. He has acted in, voiced over and assisted on independent short films.

Why do you want to make (write/direct) this film?
This is the story I would go and see. I’m making it for myself primarily. In my imagination, I saw the final scene first – Hanne sitting atop the deer lookout together with the ‘ghost’ of her younger self, enjoying the view, optimistic about what they might see. Once that vision had entered my head I could write the screenplay with ease – it flowed. This is very much a vision rather than a construct, which is why in order to work it has to be an auteur piece.

What audience are you aiming to appeal to?
Independent and European cinema obviously has its corps supporters. These aficionados can be relied upon for sure, but I want to bring in those who otherwise might not be aware of independent cinema.

How would you go about achieving your ideas and interpretation on film?
To achieve the visual impact of the film, it is important to use the best equipment in video and sound, in the hands of operators who have a knowledge and ability to use that equipment to its optimum. Shooting will be on digital format, which will enable a high shooting ratio. Good lenses and filters coupled with knowing how and where to use them is vital. A technical director’s ability here is crucial. Shooting good amounts of footage is very important; it’s always worth taking the time to shoot more than we need as too little is going to compromise the finished product. This also applies to sound recording. Even with good photography and good acting, poor sound could ruin the entire film, so there will be great emphasis on careful sound recording using the best quality mic in the hands of an experienced sound recordist. Mise-en-scene in each shot is paramount so in this respect working with like-minded filmmakers will ensure the best result. I am not looking for wobbly vision or reinventing the wheel. Cameras should be fixed and incorporate minimum movement. Lighting expresses meaning therefore shooting digital rather than film allows for greater latitudes in lighting and I’m mindful of the scenes where shooting will be in a darkened basement. Costumes and props should be authentic and it is hoped that historical reenactment groups can assist with what’s required. No studio set work is envisaged so all shooting will be on location in Cornwall, Belgium/Holland and Germany.

Have you any casting ideas at this stage and how are you planning to approach that cast?
There are no specific plans at this time. I will be looking for a pro-am cast of British and German nationals. I suspect the two most difficult roles for practical purposes will be the casting of the children, especially Steven, who is very young and so I anticipate working with a real family cast where a principle actor is able to work with their children. Approaches will be made through relevant sites such as Raindance.co.uk and Talent Circle; also, amateur and professional drama groups in Cornwall and Bavaria.
Crew will be chosen based on the skills they bring to the production/project. They will be chosen for their ability to visualize the end product and commitment to finishing the project.

Where and when are you hoping to shoot the film?
Principle shooting will be in Cornwall. Ideally, shooting for the farm sequences will be at harvest time, but this isn’t vital. Hugo has to be shown working in the fields using hand tools and also working alongside horse drawn implements and machinery of the period. Filming on the Continent – Holland and Germany – the requirement will be for properties that have a period (sixties) interior and this may mean finding heritage properties. The Dutch farm in particular needs to be a heritage farm.

At this stage can you foresee any unusual or challenging technical or budgetary requirements?
The battle sequences are going to require pyrotechnics and realistic locations. German and US WW2 weaponry and vehicles are sought and this may be available through historical reenactment societies. The other location challenge is the “Iron Curtain” itself. We need to seek out a former tower that is still intact for the 1963 sequence; also the Berlin sequence where Michael runs the gauntlet of guiding a man through the “No-man’s land” of the Berlin Wall.

What is the finance plan for the film and how do you envisage raising that investment?
No plan exists at the time of writing. Applications will be made to the appropriate funding bodies. We are looking to engage somebody with experience in fund raising, someone who will cover the entrepreneurial and organizational sides of producing.

 

The Prisoner At the fence.