Many amazing people come together to transform the words on a piece of script paper into a living, breathing film.
The story starts with Emily Marr, the Head of TV at Mother London. She is our secret weapon and the master of bringing ideas to life. Emily connects us to the very best directors in the world and transforms seemingly impossible budgets into the possible.
With Emily’s help, we’ll connect with a select group of directors to pitch on the job. This is their chance to show us what they would do with the film. Noam Murro is the amazingly talented director and friend behind the ‘Epic Builder’, ‘Epic Dance Off’ and latest ‘Epic Squads’ film.
With Noam in place, we set about casting ten guys to feature on either side. After spending a week in Pineapple Dance Studios, it’s truly amazing to uncover how many men love to secretly dance in their wives high heel shoes. The balance with casting is to pick some great dancers alongside some really funny characters too.
The selected group are then introduced to one of most important people behind the film, choreographer Juju Walters. She is a truly incredible woman, who is full to the brim with insatiable talent and energy. She works with us to create the dance moves and routines that are used in the film.
From here we collaborate with a range of people including location scouts, set designers, makeup artists, wardrobe specialists and camera operators to name just a few. Everybody is super important and it’s a hugely collaborative effort.
The twists and turns in bringing a film to life are excitingly unpredictable. We ended up filming in a remote part of Budapest where some clever set designers have recreated an entire part of New York City, held up by nothing more than scaffolding poles and sticky tape.
The shoot is always the most glamorous part in the process but it’s actually very stressful. (First world problems, we know) Our families imagine us sat around drinking whisky, just like in Mad Men, but our job is to think five steps ahead to how everything will stitch together in the finished piece.
There’s lots to think about, from a two minute edit that the client doesn’t yet realize that they want to a 60”, 30” and three 10” edits. Not to mention three different behind the scenes films and photography assets that need to be captured.
To try and encourage PR coverage, we invite a journalist from The Sun to join us on the shoot. Fingers crossed that this should give us some key editorial space when we release the film.