Delighted to announce that the Ouchy Film Awards, Ouchy Switzerland, has officially selected RACHEL, with nominations in two categories.
BEST EDITING/PHOTOGRAPHY and BEST DIRECTOR
Congratulations to Trace Taylor and Tania Freimuth – you deserve infinite amounts of appreciation for the work you put into making RACHEL everything I imagined it could be.
It’s lovely to get noted for my directing – of course it is – however, a conductor can wave a baton all they like, but until the orchestra plays there is no music. And, even then, the conductor is only as good only as the orchestra they are working with. Similarly, a director cannot make a good film without a team that is fantastic across the whole spectrum of roles. I truly believe that no one part is more important than any other and therefore this belongs to everyone.
I didn’t want to keep anyone away from the wine too long at the cast and crew screening by making a speech longer than the film, but I would like to take this opportunity to say thanks again to:
Aislinn De’Ath, whose good humour lasted through two days of lying in a coffin and whose grace and beauty could not be dwarfed even by the vast magnificence of Holkham beach.
Robert Dukes, who not only gave a sensitive, nuanced performance, but also drove the VW campervan to Norfolk and back, which sounds like fun but is actually hard physical work – a heroic contribution.
Josh Moran, a remarkable actor who can say as much with silence with as he does with words.
Arinder Sadhra, who was extremely generous to take on such a small role and yet made that moment a thing of memorably beautiful anguish.
Tania Freimuth, a woman of such talent that she truly should not have had time to work on my first film.
Akua Obeng-Frimpong, who can face any problem with a calm, “Oh well, let’s chalk it up to experience!”
Maja Biton, who was not only an incredible AD, but was also the one to persuade me to send the script to the UK Jewish Film Festival, thereby instigating the making of the film.
Mark Bullen, who so expertly piloted the drone to capture the magical finale footage.
Matthew Fox, whose willingness to take on multiple roles, not to mention his zoology degree, enabled us to work with a small enough crew, and gain sufficient trust, to be allowed to film on Holkham Beach.
Kate Higgs, who just knows what Tania needs the camera to do and does it, brilliantly.
Courtney Andrews, the quiet man who gets things done and is always exactly where he’s needed.
Peter Polak, who cares even more about meticulous sound recording than I do.
Marco Baldassarre, who managed to keep the boom out of shot in a room only 8×12 feet, with a ceiling just 7’4″ high.
Simon Battensby, who lit that tiny room against the odds and was unflappably patient when the going got tough.
Becci Mapes, whose dead make-up for Rachel was so good that even the funeral director said it was realistic.
Yvanne Teo, the photographer who got the image for the poster, the stills I asked for, and the stills I forgot to ask for.
Nathaniel Small, who took his role as runner literally and deserves a medal just for having to live with a director.
Trace Taylor, editor extraordinaire and just a joyful bundle of fun to work with.
Lexi Elven, our VFX specialist whose work is so good you can’t tell she did anything at all.
The Farm Group and the excellent team Chris Foster put together:
Perry Gibb, for his persistence in the face of a chapel curtain that couldn’t decide if it was turquoise, dark green or chartreuse, and his artistry in so beautifully blending the Black Magic and drone footage together.
Aidan Bennett, for the many hours spent stopping Rachel’s heartbeat and twitching little toe!
Andrew Godwin, for sound design that makes me smile every time I hear roadworks or a woodpecker in the forest.
