Type in Mr Wiggles to Google and what do you get? A load of entries for the rap artist Mr Wiggles. However the penultimate entry on page one of Google – last time I looked – refers to another Mr Wiggles. This is far more interesting – to me at any rate.
Mr Wiggles is a Swindon-based short film, written and directed by Steve Ware and co-directed by Steph Palmer. In late 2011 Steve asked Dreambase if we’d be able to spare some time over a couple of weekends to record the location sound for the film and to act as sound supervisor and co-production on the project. As with all ‘no/lo-budget’ projects we were naturally skeptical, so asked Steve for a draft script so to read what it was all about. First read and we were hooked by this powerful family drama and simply had to be involved.
We went to recce the location with Steve and Steph a month or so before filming to get bearings on the situation – this being a large run-down farmhouse on the side of an A-road and an accompanying large barn, open at the sides. The immediate impression was the sound of the road nearby. As a sound recordists we're always thinking about the final product when making decisions on sound. Thinking about what we can get away with in terms of dialogue and how we can perhaps ‘cover’ up the sound of passing traffic if need be, especially for the exterior barn shots. Lot’s of close-up shots come in handy here, where we could get the boom in a close as possible to maximise the signal (dialogue) to noise (passing traffic) ratio.
During the recce we made some atmos and room tone recordings which could later be used in the film. We also recorded the sounds of the farm animals as we expected to be using some of these during the post production process. After all, the sound of a snorting pig pitched down can be quite dramatic!! We also ended up banging and hitting various farm implements, including a large rusty spring on the back of a grass cutter, which was later pitched and used in the trailer for effect.
Main shooting of the film took place over two consecutive weekends in November 2011. The first weekend turned out to be very cold with near or sub-zero temperatures for most of the time due to to a constant wind entering the open side of the barn we were filming in. Lots of layers, hats, balaclavas, scarves and gloves were required, as well as plenty of hot drinks! We were ably assisted on sound by Samantha and 2nd sound assistant, Shannon to record notes for each take. We were lucky to have such a comprehensive crew on this film, whose unyielding efforts really contributed to the quality of the final product.
The second weekend’s shooting was a little easier as many more of the shots were in the house so less effected by traffic noise and a lot warmer too!
Following a very intense but ultimately successful shoot we were now into post production. Initially we'd offered to compose the music for the film, as well as doing the sound design, edit and mix. This initially seemed like a good idea and a first composition was some original music for a music box which is featured heavily in the film. Steve was keen that we have an original score for this which was duly delivered. The main music score was a different proposition and Alex was feeling under pressure to deliver as well as keeping our regular paying clients happy. Fortunately around this time we were introduced to composer Michelle Eaton through a mutual friend. We were immediately impressed by her compositions and asked if she might like to get involved in the film. She said yes! We'd been messing about with a couple of ideas, which basically consisted of a series of nine notes!! A catchy riff but very far from a proper film score. These were played to Michelle and a week later she had transformed the initial ideas into something wonderful and immediately engaging. A few tweaks later and we had a main score for the film. From this Michelle composed a series of moods to go with the unfolding of the film.
The last music track in the film was written and performed by Daniella Faircloth andMatthew Mordak. It was recorded and mixed the music at Dreambase Studios and a music video was later created for the song at the film’s location.
At this time the picture edit was more or less complete so we were editing/processing the dialogue and adding fx and atmospheres to the soundtrack. We’d already completed a short teaser trailer for the film with some temp music, which was later changed using Michelle’s score. Michelle’s music was the last element to be laid up to the main project and this is pretty usual for most films. Ideally the composer would be bought onto a project at pre-production stage but logistically this doesn’t always happen. The music was track-layed using Michelle’s notes and with some further editing and mixing we were approaching a theatrical mix which could be played back in the local multiplex for the premiere. We had a couple of evening sessions at the studio with the core team to go through the soundtrack and get approval before it was mastered out and married with the graded picture, ready for the first showing. When the crew actually have tears in their eyes in the studio you know you’ve done a god job; emotions were running high – in a good way!!
Next event was the screening in the local multiplex cinema. We'd mixed the film knowing it was going to be re-played in this environment so were pretty confident everything would be played back at the right level and all the dialogue would be understood. The sold-out charity premiere was a superb night and marked the end of the first stage of the film’s progress.
Mr Wiggles has so far been shown on the festival circuit in Asia and is currently showing in America. Dreambase Studios wish it all the very best, especially given the hard work, commitment and attention to detail from everyone involved.
You can keep updated on Mr Wiggles via the Facebook page here.
Mr Wiggles is about the imaginative distraction we all desperately desire from reality. The film takes the lives of two young children’s desperate escape, into a world created for protection. But for Amber and Nathan, it’s only a matter of time before reality, catches up.
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