On Saturday evening we have our settings at sunset get. Also we shot a scene without permission from the crane and in parallel with the second camera is a further shot and close-ups from the stand. The shoot with two cameras is both a blessing and a curse. It's wonderful a scene from two perspectives, can dissolve. Difficulty is the coordination. Who turns, what, when and where, but in the course of the shoot will be recording the.
The fourth day, Sunday, was disappointing for me. As I write these lines, it is 7 clock Monday morning, and I'm sitting in the kitchen of our small house in Streatham. It's raining today and I'm curious if the Strandbeesten run at all today. Yesterday, Sunday was higher than the Trafalgar Square. I hate the feeling of Sunday afternoon. The people are no longer so fresh and elated as on Saturday, when the weekend has begun. Somewhere in the back of the head even the thought of Monday and the man is trying this feeling in one oversized choke on inertia. I then decided to turn less and be seen. One thing is still working fine: a Strandbeest stands on the place and people can move it independently. Especially on children's exercise of this nature and the possibility of moving it with his own hands, a great fascination. Children can push away the feeling of Sonntagsnachmnittags they instinctively feel with their parents, and do so with enthusiasm to a cause. Andreas has filmed an episode in which two children, enthusiastically Strandbeest moving and suddenly broke one of the legs. A wonderful story in passing. When I write on the edge, I do not know yet what will be the core. Before the shoot I had considered a total of five stories with which I wanted to tell Theo's London residence. A we have hopefully already found, leaving the others waiting. But today is just the third Drehhtag and once again I have to curb my impatience.
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