China Diary

Day 152: Zipping Between Two Stages

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Even more people are dropping in sick: now my assistant David and our 3rd ad Barron both checked out for recovery. This made the day especially complicated, since not only did we have two teams shooting, but both of them had main cast in them, so I had to run back and forth between two studios directing two teams. Having slept some four hours the night before, it was a complete brainfry for me.

A sunny day at the Wanda Studios

First, we started on the Moon Surface set, which turned out to be a slow one. After we shot one shot there, we moved two cast members to the other studio to do some fight action, while the other team stayed to do some driving action in the other studio. One actor we sent back to the hotel, to be summoned back after we had finished with the car stuff.

The car stuff took longer than expected (those pieces of shit had their tires falling off constantly) and the set proved to be way too small for anything we really needed it to be for. In the other studio, wire stunts took their time and we started to debate the script issues, and just as we were to shoot, I heard the other studio had one of the actors cranky for waiting and I needed to rush there.

We shot (a pretty nice!) scene there with him, and wrapped him for the day, and then I stumbled back to the Moon Base studio to work more on the action. We took some closeups after some big falls and hits, and then wrapped that set, and then I stumbled back to the other studio to shoot more car drivings.

By the time we wrapped the endless day at the other studio my throat was burning for the moon dust, since I really can’t use a face mask (every breath blows my glasses into a mist) I had to suck in the dust by gallons. I really hate that set. It’s problematic, unhealthy and too small. It looks good, but I hate shooting there. It does remind me of the Streets of Agharta -set in Iron Sky The Coming Race, one which had the yellow dust everywhere.

So, a wish list for my next movie:

  • No exterior shoots, unless it’s day and summer.
  • No location which could potentially have dust of any kind in it
  • No gravity effects
  • No big machinery, animals or children

That’d made me a very happy daoyan.

China Diary

Day 151: Moon dust will cover you…

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This chaos is killing me.

Shooting simultaneously in two studios is a clusterfuck if I’ve ever seen one. Add complicated wire stunts and constantly breaking down special props vehicles to the game, and sugarcoat it with a hefty puff of “moon dust”, an extremely fine-grained gray dust which finds its’ way everywhere. And of course, the crew being slightly not feeling well, we really have quite a horrific week going on.

Yesterday we moved to a new studio, which is always a pain in the ass; new conditions require constant readjustments, and in addition to this, the production had misunderstood two different locations as one, and suddenly we had to reschedule basically everything to make the schedule work. It’s the last week of Duan Yihong, which means we’re focusing hard on his character to get the rest of his bits done, and while it’s not that much, it’s the most hardest parts of the role for him we are working on.

So, while we’re shooting stuff with this broken-ass moon rover on Studio 24, the action team is working in the studio 12 doing wire stunts, and I scoot between the two studios to direct actors in both, with no idea where I should be, and when. It’s already quite a challenge to keep the whole puzzle together in one’s head, but when you shoot two scenes simultaneously, that’s when it all becomes real fun indeed.

Järnefelt: “Kaskenpolttajat” – The Moon Edition

The sleep hasn’t gotten any better, to be honest. I manage to doze off restlessly for three-four hours a night, and then take two 30 minute naps at the green room while on lunch and dinner breaks. I have no idea what we are supposed to shoot in the morning as I shinny in the car, and gather my thoughts in the fifteen minutes ride, reading hastily the script and trying to remember the storyboards and the plans we’ve made for everything. It’s not really ideal filmmaking, and while the art of filmmaking actually happens on the set with the actors involved, it’s still not ideal to shoot six days a week; in five-days -shoot you rest one day and prepare for the coming week one day, now the preparation has to give.

But we’re already so far with the production, so in that way, it doesn’t really matter. We know the drill already, we know the characters, we know what kind of issues to expect and what probably will go easy. Although I wouldn’t call us a well-greased engine of an Alfa Romeo speeding down the highway, I’d say we are like a Massey-Ferguson 135 riding a Perkins AD3.152 diesel; a slow but sturdy thing that plows on, no matter what crashes in our way.

The Dark and the Light Side of the Moon
China Diary

Day 150: The Will and the Way

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The flu came down hard on our crew. Lei, the 1st AD, dropped out of the game for a day, and we had to run the set with our 3rd AD Barron in the lead. Many others in the crew were coughing, complaining about sore throat (me included) and all that, so we felt like half-manned the whole day.


Our stunt coordinator – I’ve spoken about him a few times on this blog – is an intense guy. He has a bit of an personality on the set, which transpires in a way that sometimes it’s hard to get a good conversation going on with him, as he likes to run things his own way. But he’s lightning fast in devising new plans based on changes we make on set, and tireless with his crew, and while everything including wires takes a lot of time to accomplish, he is never sitting still.

Yesterday was all about that: wire stunts after wire stunts, trying to find the correct 1/6th gravity feel to the set. In many ways, trying to replicate a completely zero-gee effect would be easier – one-sixth has its’ challenges because things need to seem both low gravity at the same time, but also natural. But there’s nothing natural in low gee, but since it’s not completely zero-gee the movements usually land in somewhere in the uncanny valley which looks both realistic and fake the same time. There’s no real guide on how to get the effect working perfectly, you can only look at the camera and see if it is what you want or if it feels off. Usually, the “off-feeling” begins with legs: while being hanged from the ceiling with wires the low-weight effect on the body can be relatively easily faked, but since you can’t wire the legs separately, which form often a different body separated in two from the hip, they become the telltale feature which you need to control weirdly separately. Thus, all kind of crashes, trips and falls to the ground are extremely tricky, since while the body can be controlled by the wires, the legs need to be controlled by the actor themselves. If you are a really physical actor with a lot of martial arts training for example, this is not a problem, but since most of the actors are – well, versatile actors, no martial artists, finding the right tone is really hard.

I also found out the production will not grant another day off anymore before the end of the shoot, which means there’s ten more shooting days to go without a break ahead, and all of them are really, really demanding ones. And since the schedules for the Finnish shoot are so tight, we have to leave instantly the first thing after we finish the shoot here in China, so there’s no real time to even go shopping for souvenirs anymore, which is a bummer since I had come up with a perfect gift for my son here but hadn’t acquired it yet. Now I’ll have to figure out a way to get it somehow…

Anyway, I better try to keep my mind and body as clear as possible for the last 10 days, since it’s going to be very rough ride ahead, in order for us to finish the film. It’s not helping that I can sleep barely four hours a night for whatever reason… But, what can you do.

Good thing is that Annika will jump on the plane in no less than two days time, and we’ll be finally reunited for good, since she’ll travel back to Finland with me and then I’ll never move five feet further away from her for the rest of my life.

It’ll be a bit tricky promise to achieve but hey, if there is a will, there is a way.

unnamed (2)
VFX supervisor Chris, me and Mika
China Diary

Day 149: Sluggish And Slow Start for 2018

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Everyone seems to be getting sick on the set now. The other day, Jonathan dropped off for few days, complaining he wasn’t feeling too good, and today Lei and Lotus both said they were feeling a bit off. I’ve had this constant feeling like someone rubbed my throat with a sandpaper every morning, but I put it to the count of the polluted few weeks we’ve had here in Qingdao.

Nevertheless, this kind of vibe affects the set right away. We started to do a big action scene with a lot of wires and stunts, and everything slowed down as it usually does. But by the time it was already way past lunch and we had only shot few b-unit clips I was starting to get worried. But then, my two hours of sleep last night turned against me, and I started to doze on and off at the monitors while the stunts prepped for the shots; I admit getting a fifteen minute sleep there, but that sparked me up. Although everything was dead slow, I tried to give us the last push and we did finish the one shot we wanted to get going, so all that ends well, is well I guess.

That was the sixty-seventh shooting day, which means we have eleven left to go – and after today as I’m writing, we’re under the magical ten. I would be lying if I didn’t think the end daily, but there’s still things to be done before we’re home scot free. But more importantly than that, as I’m writing this it’s only three days until Annika comes over, and she’ll stay here until the end, so it’s going to be a much better ending there.

The Turku shoot preparations are also in full swing. We’ve hired a bunch of actors from around the world and invite them over to Turku for the shoot. It’s going to be a great ending for this, with all my friends around, some of the best people I’ve worked with coming there too and wrapping up the production in Finnish style. Max will be there, too, and Tero, and Rhydian and Stephanie Paul from Iron Sky one and two fame… It’ll be a blast.


China Diary

Day 148: Seoul Love

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That’s the doorbell. Must be the room service, coming to clean my room. Fuck them.

“I’m still here!”


Goddamnit… “I’m still here, no cleaning, thank you!”

Ding-dong. Knock knock knock. “Timo, open the door. We have to go.”

Shit. What time is it.

Where’s my cellphone? In the living room! It’s ten past 12 noon!! My pickup for the airport is here, and I’m really late. Shit.

I scrambled my clothes and ran out of the door in ten minutes time, managing somehow to wash my teeth and jump into the shower in between, and rushed downstairs to find Mika, Jonathan and David waiting there for me. Yeah, the party last night went a bit late and I had forgotten to put a buzzer to wake me up, so there I was, 30 minutes late. Sorry guys.

We did make it to the airport in time. It was time for our every-60-days-trip to Korea again. Small plane, thousands of people everywhere… We didn’t even get to leave the airport after we arrived to Seoul, because we had to wait in lines for so long. Just grabbed some food and headed back again. Well, that’s my day off.

I did manage to write few crucial emails and started to read a new book (Gösta Sundqvist’s biography), but mostly the day was just wasted in the airports. We did enjoy some long overdue McDonald’s meal (they only have Burger King in Yellow Island…) at the airport and returned back to the hotel around eleven.

Luckily, that’s the last of its’ kind, no need to do that stupidity again. I do like Korea, though, would love to visit there one day for real. The people look cool there. You also see much more western faces around. That makes a difference. I find myself staring hungrily at every Westerner who walks past these days, they are so rare here in Qingdao.

Man, I’ve learned to love China, but I also miss home. This is what it looks like back in Finland this time of the year:

China Diary

Day 147: The Next Day

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Yeah, it’s been a long production and we are all getting tired. It’s now more visible than ever before, especially yesterday, which was the last day of the year and everyone knew there’d be a day off the next day, so everything somehow happened at half speed. And although me and Mika had had one day off last week, the crew had actually been working on Christmas Day on 25th, so they hadn’t had one day off in nearly two weeks, so I understand they were tired. So me and Lei decided to not to go too long tonight, everyone had some plans for the New Year’s Eve party, so we decided to do what’s necessary but not drag the day long, wished everyone a nice day off and went our merry ways.


Me and Mika’s New Year Eve party started at a local pub called Knuckles, which serves also a fantastic selection of very Western foods like pizzas, burgers and so forth, plus huge kegs of ice cold Qingdao. As we chomped them down our throats, Rhydian called us and told us to head over to the KTV, where the three remaining actors were having a good old time – Rhydian, mr. Duan and Vivienne, plus of course their assistants (who were mostly on the phone and kept bringing in more drinks as the night grew longer). We sang and drank a lot, and had a hell of a time, and it was around 5 am when we finally made it back to the hotel.

So, that wrapped the year 2017, which was in many ways the hardest year of my life. My brother’s death dominated the beginning of the year and ended with his funeral; then, the Chinese production started to blast full speed and separation from my family took a hold of me. I did have some great times, too – visiting great film festivals, having great times with my wife exploring our relationship more and finding out how much more I love her than I can even put to words. Also, wonderful times with Pekka my great friend, from Huhtamo to Georgia and back. So if anything, the year was both hard but also very giving, probably a year I’ll never forget as long as I live.

I have, to be honest, no idea what to expect of the next year. One thing is for sure: I’ll release Iron Sky The Coming Race, so that will dominate quite a lot of the year, also post production of Iron Sky: The Ark will be in full swing.

But what I hope for? I hope I get to spend more time with my family. That’s honestly the only thing I hope for 2018. And yeah, maybe finally learn to play guitar. That would be great, too!

Top Films

Top 10 Films of 2017

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Two thousand and seventeen was quite a lackluster year for movies for me at least. I missed most of the ones said to be great ones, and ended up watching quite a disappointing collection of movies, thus the list doesn’t really look amazing at the end of the year.

Ridley Scott made it to my list twice, as it seems to be the trend every year, but this year it seems the only action films populating the top choices. The reason isn’t really because there wasn’t any, I just didn’t see them. I’ve been traveling the big part of the year in festivals and since August, I’ve been in China quite busy working on Iron Sky: The Ark, so I just didn’t have an access to the theatres that much.

But enough talking, here’s my top-10 movies of 2017!

AlienCovenantAlien: Covenant 

To be honest, the story of the film is a bit of a blur to me, but I can’t help but love Ridley Scott’s pull when he’s doing a film. Alien: Covenant is doing the wrong thing in theory, explaining in detail the origins of the Monster – the more mysterious it remains, the more interesting it is – but he does it through pulling in mythologies and bringing it all together in a big, epic scale that just works for me.



The Fate of the Furious

The biggest, dumbest action film of the year is definitely The Fate of the Furious, which floats freely away from the origins of the series, going closer to the action franchises like Mission: Impossible, but does it bravely enough that you never have time to stop to think too much about what’s really going on. It’s The Rock derailing missiles with his bare hands, Vin Diesel yapping about family values and a lot of car crashes. It makes no sense, but it’s a fun ride. There’s value in that, too.



While a spectacular visually, Dunkirk really lacks interesting characters that would pop out amidst all the war stuff going on around them. Somehow Christopher Nolan has always had this problem for me: although the writing is good, the characters remain always distant and cold in his films, and especially in a war movie, you need the humanity to balance the rest.


War-for-the-Planet-of-the-Apes-2017-movie-posterWar of the Planet of the Apes

A promising start of the movie in its’ post-apocalyptic coldness starts to fade out as the film progresses and shows that it lacks an interesting script. The world is nicely fleshed out, and probably for the first time ever I can say that the visual effects have reached a state where I’m really fooled by them, but in the end the film is just two major set pieces – the beginning and the end, but the journey in between isn’t really an interesting one.


PCC_BabyDriver_REG_Stroke_1024x1024Baby Driver

Baby Driver is a film that sucks you right in and keeps a tight grip, until halfway through, when the movie just runs out of ideas, or the production out of budget or something. Then we keep on repeating the same locations and characters, and stumble into the fact that the backstory of the main character is not as interesting as the beginning would have promised.



RP15402-Pirates-of-the-Caribbean-Dead-Men-Tell-No-Tales-CollagePirates of the Caribbean: Dead Men Tell No Tales

…Or Salazar Revenge, or whatever it is they wanted to localize the movie with, it’s an atttempt to kickstart a fading franchise, and does it perfectly acceptably. Whatever the story is about I have no clue, I mean yeah there’s a bad guy and Guybrush Threepwood or whatever Bloom’s character is called, and Johnny Depp on autopilot, but it’s not really the point. You get the big ships crashing into big ships and sinking, you get some mystery stuff going on and big visual effect set pieces and then it’s the end.


blade-runner-2049-posterBlade Runner 2049

Somehow, the first thing that came to my mind watching Blade Runner 2049 was that I was watching a lengthy episode of Netflix TV series based on Blade Runner. So strongly stylized, but suffering from some kind of a TV-series -style scale issue: massive matte painting exteriors, but when you cut inside, you’re in a relatively small sets, so the world feels very artificial. Nothing, actually, feels very alive in the movie, it’s like reading a concept art book – beautiful pictures but the story is nowhere to be found.



Superhero movies rarely make my list, but Logan was a rare one which didn’t make me want to leave the theatre during the first ten minutes. Well, technically I was watching the film in an airplane, so that would’ve been a tragic mistake anyways. Logan’s promise was that it’s a superhero movie for the grownups. Well, I’m not sure if that’s the case, I mean it still has all the problems a regular superhero film has


p12009522_p_v8_agDespicable Me 3

Despicable series has never really moved me, but I must admit they get to be clever sometimes in writing. It’s always good to present a hero to the kids that isn’t the most standard white handsome young under 30’s idol and the little yellow shits (whatever they are called) can be occasionally entertaining. Extra points for some great tracks in the film.



lego_batman_whv_keyartThe Lego Batman Movie

The Lego Movie was a promising start for the new franchise, and Batman was definitely the funniest character in it, so when the trailers started to pop up, I was really looking forward for something really great. The film itself, though, is a one-trick pony which stops being inventive in the first act and then keeps kicking the dead horse through the last two acts. Still, something new and fun to go watch with your kids.


China Diary

Day 146: Dream On

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2 am. I’m listening to In The Nursery’s amazing album Man With The Movie Camera and contemplating the night. I just watched the new Blade Runner, and while I enjoyed the visual beauty of it, to me it felt soulless and uncharming on the inside. Compared to the original one, it didn’t bring anything interesting new to the table, save the advanced visual world, and the things that worked were already working in the first Blade Runner, making the sequel quite a redundant work.

I decided to go see a movie after a slow and slumpy shooting day. I was dead tired thanks to my current insomniac phase, but so seemed to be the whole crew. Maybe it’s because the lack of rest for them (me and Mika had a day off but the production had the crew working even on our rest day to do some stunt action last week) or the fact that it has been quite a long shoot already, but the set was slow like a snail and everyone was doing dumb, simple mistakes constantly, ones they wouldn’t do normally. The light cues were off, the camera focus was constantly somewhere else than on actors’ face, the makeup and costume took forever with the actors – and the actors were all slightly slower and slightly harder to work with than usual. Just one of those days. One more day to go this week, then there’s a day off and a new year looming ahead of us.

But I did find some moments of peace and solemnity on the set today. It was one of the endless waits, when the camera was ready and we were waiting for the actors to arrive to the set. Iiris had given me a birthday present, a notebook to which I had started to doodle during the shooting day. So there I was, doodling away, listening as behind me Lotus the Continuity, Chris the VFX supervisor and my assistant David were rattling on quietly in Chinese. Mika was zipping past the monitor view as he was placing lights here and there, Lei was wandering somewhere around with the megaphone in his hand… But the set was peaceful. There was a good feeling around. People were enjoying their work, there was no unnecessary pressure or hurry at that moment, there was laughter and chatter all around. It’s hard to say but I did feel pretty good at that moment. Like, this is my job.

I get to do this for a living. Sit in this big-ass moonbase set, with all these amazing people all working together to realize a dream.

It’s a nice thought.



China Diary

Day 145: Sleepless in Qingdao

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I don’t know what’s going on, but I’m unable to sleep anymore during the night, and during the day I’m shooting, so I’m mostly just a walking dead for the most part of the days. It started about a week ago, and after that I haven’t been able to really rest in the night properly. This leaves me with a constant nagging headache which I’m trying to cure with coffee and painkillers, but that’s not a really good recipe for anything.

Insomnia has been a problem with me for quite a many years. Not sure how it works with others, but in my case it’s just the inability to sleep. The business of the day goes rattling in my brains at high speed when I try closing my eyes, the scenes we shot keep popping back up and I start going through the list of possible missing closeups, glances, bits of dialogue and so forth… Or going through the list of things to do, the ideas I forgot to write up, it doesn’t matter what, but it just means my brain doesn’t want to let go the day’s work.

I’ve tried everything (well, not everything) from melatonin to some a crude version of autosuggestion, meditative music and so forth, but nothing really works. And even if I get so tired that I fall asleep early in the evening, I wake up one hour later head buzzing with things.

But what I’ve also learned, interestingly, is that it happens twice a year, around the same time of the year every time. It lasts few weeks and then I get to reset my sleep rhythm again. So, all I can do is just sit back and wait for the sleep to come, and the rhythm will come back at one point, sooner or later.

So yeah, that’s what’s going on with me now: sleepless nights. Last night was quite rude: first time I really got to sleep was 6am, with wakeup call at 9am. With this three hours under my belt I was really cranky the whole morning. The day itself seemed quite impossible to reach – a lot of pages of script with endless amount of location- and makeup changes around the studios, small splinter bits of scenes to fill up and so on and so on, and in the end we were shooting two scenes simultaneously in two different rooms – while setting cameras for the other one, the other set was filming, and vice versa.

Mika checking his emails on a break.

It was the shooting day 64. That leaves us only just a little over ten to go, out of which two are in Finland, so I can nearly see the finish line. There’s still the most complicated stuff coming up, so no need to celebrate just yet…

Oh! There’s one interesting thing I’ve noticed with the Chinese actors, something that I haven’t seen anywhere else before, and I wanted to talk about it. There’s always someone behind the camera recording with a cell phone the monitors as we shoot, an assistant of some of the actors, and after the take the assistant runs back to them and shows what we shot. Then, the actors take a look at their performances and makes assessments on what to change based on what she or he sees.

That’s kinda understandable, sort of. It’s not news to have an actor come over to the monitors and requesting to see a playback of something and depending on the actor I’m happy to show what we shot, maybe even sometimes inviting them over to show what to change and how. But this kind of sneaking behind the monitors and recording takes is really getting on my nerves, and I’ve had to say about it a few times over to the actors. I learned that it’s typical in Asian film industry, especially if you are a bigger star, but there’s few reasons I don’t like it at all.

What’s problematic about it is that first, it distracts the actor to think every take as a take, and forget the role they are playing. It heightens their insecurities and even if they claim they only look it to see what’s our framing, it also prompts them to perform to the camera and alter their performance based on what they think is relevant to the character, not what the director thinks. That’s easily a very poisonous loop, since the whole basis of director-actor -relationship is that an actor trust the director to guide them the right way so that it serves the story. In many cases, “perfect take” is not what you are looking for – it creates a very unorganic and staged feeling on the film quickly – but the natural one, born from the moment of playing the scene out.

Of course, it’s also slowing things down: while we would be getting ready to take another take, some actors are sitting and judging their performances on their phones.

And the last thing is, actually the sets are a no-film -zones for anyone else but the appropriate people – that means the actual camera crew, and maybe making-of. Even if these materials are not distributed anywhere, what if the assistant loses his or her phone, and suddenly half of the actors’ takes are out there on YouTube a year before the film comes out… It’s also a security issue.

But, like I said, it seems to be the norm around here. Right now, with mere two weeks left of the shoot it makes no sense for me to make a full set of new rules but if I come back here to shoot another film, that’s the first thing I will demand from the actors to not to do.



China Diary

Day 144: Blocking, Blocking, Blocking.

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That’s what it’s all about, the director’s work, blocking a great scene. Rest comes easy.

I’ve learned quite a lot on blocking during this production. Before, I’ve been used to block in very great detail every scene, directing everything the actors do with utmost care, but this production has taught me that the best way to block a scene is to keep an open mind, unless you’re absolutely chasing for something very specific.

The best way is to get the actors in the scene, tell what needs to happen, what kind of mechanisms the set might have and how do you want to end the scene, and then let them come up with the blocking by themselves. This gives the actors the possibility to experience the scene through their characters, find organic solutions and create a scene which feels natural, flows nicely and is fun to play. Of course, there will be moments when the scene gets stuck and you ask the actors to do something very specific, but by keeping the mind open for the blocking suggestions results in a much more interesting performances.

Oh, yeah, and blocking itself, it’s the time the actors and director spends together going through a certain scene and how to play it out before shooting it. Usually it’s also a chance for the DOP to check the scene out and come up with good camera angles to tell the story. After you’ve blocked, all they have to do is just to repeat it some ten to fifteen times, depending on the camera angles and camera setups and it’s done. In those terms, directing is quite an easy job.

But it can be also hard. In addition for the actors and the sets and everything around them, we have now also our writer, mr. Yu on the set, supervising the Chinese dialogue since it’s truly out of my control. Having a writer around has some advantages, but it also creates easily a very confusing situation with the actors. Director starts directing the scene, but if suddenly a writer pops around and suggests changes into the characters, lines and actions, the messages for the poor actors get very muddled. I had to stop mr. Yu from directing the actors few times, saying that the only person I allow to direct on my set is me, and if he has suggestions, they need to go through me. It’s not really about the power struggle between a director and a writer – the board is already quite simple in that respect (director interprets the writer’s text and turns it into a movie) – but more it’s just about the actors and the work you’ve done with them during the production, building the character out of the lines on the paper into a real-sounding human. Some decisions are made based on the kind of a character you have created during the shoot, which may differ from what is exactly on the paper, meaning some actions, dialogues and reasoning doesn’t really work anymore. We had our clashes during the first few days he was around, but as soon as we managed to set the boundaries right, it’s actually great to have him around. The film has few very logical challenges which we have been solving as we have been shooting, and he’s good to be around as the second pair of brains thinking the whole big picture as a story.

Anyway, Wednesday shoot was surprisingly smooth. The blocking found the right rhythm instantly, and we were shooting a great scene. That’s the best feeling for a director in the world: knowing you’re working on a great scene. Sometimes, you know instantly that no matter what you do, the scene isn’t going to be the highlight of the movie, and covering that kind of material pisses everyone off. You may even find yourself shooting material that you already know won’t end up in the movie, and that’s quite a depressing thought.

But yesterday wasn’t like that. Yesterday was great fun, for everyone. We didn’t finish the callsheet, but luckily we still have many days in the same set so we are not in huge troubles even if we didn’t manage to go through everything.