2001 April 2
We have the money! We may start the shooting. But the producer feels that is too early to begin on the 10th. We have to meet with the general manager of "Mokep", who for the time being is abroad. It seems that the date of 17th would be the most appropriate for starting the work. But the cameraman disagrees, he propose to start on the 23rd. The land is turning more and more green, though the director idea about the scenery was to capture a sunny, yet dead nature…

2001 April 3 - Budapest
The day of testing. On the "Hajógyári" island, the cameraman and this assistant, András Ignác test two rolls of film, a lot of filters, the camera, the fahrt movements of the snake cuts, the quakes made by an earthquake and the functioning of the periscope lenses. In the meantime the director tries to induce the producer to start the shooting on the 10th. The G is working hardly on the payment schedule of the costs. He has to finish by 5 in the afternoon. He finishes at half past five. The producer is terribly sorry, but for sure we may not start the shooting on the 10th.

Wednesday, 2001 April 4
We have to start recording the growth of the plant, namely the special effect, because the plant is growing fast. We start preparing. We have to rent three Arri II C cameras, two "Balogh" lights, three engines for the special effect, also we have to make a table size model. After short wrangle the G himself makes the model from the platform of a barrow. In the evening he took the model to the biologist. The root is planted into the soil. The biologist had put the plant into the refrigerator, but when he was informed that we chose another plant that grows faster he planted the initial plant in his garden. But the director doesn't agree with the faster growing plant, so the crew returns to the initial plan.
Now a paper disk marks the plant's place.

Thursday, 2001 April 5
The preparing of the shooting is frozen. There is no leap forward until the meeting from Monday. Due to a routine mistake the recording of the special effect is suspended too: three optics and the tripod were not tight up to the camera. But these are not included in the budget. So the costs doubled. The G asks to record the plant growth only by two plans, because so we could save the cost of two complete camera set. But the director is adamant in this point. The G is talking with him about the degree of discounts. Final touches to the script. Éva Schulze read the script and brought up some questions. The answers hopefully will make the story more vivid. Possibly three actors would get acts in the film.

Friday, 2001 April 6
Eleven o'clock, in a coffee shop in Budapest. Meeting. The cameraman renounces from the disposition book for the first 12 days a mechanism for camera movement in value of about 600.000-1.000.000 HUF. Without these it would be much harder to record the planned scenes.
The director: "If we try to find something good in realizing the initial idea, we should appeal to inventiveness. I hope that the picture will be much lanky, much disciplined and ingenious."
The G finds too high the sum reserved for the sound. He proposes different sound editors, who are much cheaper, but who have no or little experience in filmmaking. The director meets with the chosen sound editor and they agree about the price.
At the film laboratory the developer machine has broken, so we'll have the results of the testing only at the beginning of next week.
In the afternoon calls the biologist hat he didn't plant the plant that we have agreed about. In his garden grow the bud, but it turned to be a weed. Though he assured the crew that he would get the asked plant by Monday.
"Half past ten in the morning: in a dark room, the back crew of the production charged with the Internet, in a familiar atmosphere launched the final version of the production's official homepage. The creativity of the last 48 hours marathon put up a monument from 11 packs of empty cigarette. The net engineers ready for another assignments are in the way to the cigarette shop, and in secret they wrangle a few minutes of rest in the April heat wave."

Monday, 2001 April 9
The general manager of "Mokép", Csaba Bereczky and the producer of the film are having a meeting with the crew. He agrees with the decision taken until now: with the 35mm film, 30 days of shooting, animation, and he also agrees with the planned budget. He considers this film a great opportunity, and because of its internationalism (there is no dialogue in it) it doesn't have to stop at Hegyeshalom. He promised that "Mokép" handles this production as an important one.
We agree to start on the 23rd. On the behalf of "Mokép" we have a new crewmember in the person of Zsolt Kristóf as the assistant of the producer.

Tuesday, 2001 April 10
At the film laboratory we watch the copy of four times of five minutes test material. The first role of EXR 100 Kodak raw material was recorded with different filters on dull material, the second one on 250 material. The others two materials had reflections, meaning that the exposure was close to the norm. We see a vivid read car on "angry" green grass, and in the middle of the picture stands a man with a board showing the filter number. The cameraman and the director are determined to fade the green colours without making unreal the other colours. The test of the earthquake, of the periscope and of the darkening is successful. The film laboratory tries to solve the problems with the colours.
We obtained the domain name of www.hukkle.hu. But the name points to another domain, so we ask the C3 foundation -the Registration Company- to assign real address to the name.

Wednesday, 2001 April 11
At "Mokép" establishment from Kőbánya everything is settled for recording the plant growth. In the middle of the room, on the table, in a box there is a piece of land. Little grass, grown lilies of the valley, mossy tree stumps are rising in the office of the Natural-Scientific Studio. Hopefully with this cut the once destroyed "MOVI" studio could be reborn. László Berecz already prepared the necessary frames and the light for the plant growth. The cameraman determines the light intensity and the blend's measure, after that József Rák, the special effect cameraman make all the necessary arrangements. There will be three Arri 2c cameras with squaring machine. According to calculations we have to expose with all the three cameras every 20 minutes. The preparations last till the afternoon, and the specialists agree to start the shooting tomorrow.

Thursday, 2001 April 12 - Kesernyés
Direction: the village. By lunchtime arrives the G's crew. By the time the G is organising and paying the bills, the director, the assistant, and the production manager's assistant are working on the detailed plan of the first 12 days of shooting. They settle about the accessories, the actors namely where from shall we get a herd of cows, shall we get the house chosen for the shooting. In order to cut the expenses we have to rewrite the disposition book, that last till midnight.
During the day the director calls the Natural-Scientific Studio. The special effect cameraman informs him that they have recorded 167 squares, but by the time they started the recordings, the plant grew 3 cm from the soil. "It's futile, this is a magic plant!" - he say. The director is angry, but he rather is at a loss. He calls the biologist and asks him if it's true that the plant don't grow in the night. The biologist disproves this is an unfrozen plant, and it can grow in the night too. The director sends two men behind the squaring camera. They will relieve each other every 12 hours. We have to wait two weeks, till the muster projection. Until than we have to suppress our sadness.

Friday, 2001 April 13 - Kesernyés
We are still in the village. We have to visit all the candidate actors, and we have to take pictures with them. The nature is irreversibly growing green. The sight is not even half as good as when we planned the film. The director plans to shoot only a few grow plans, the rest will be recorded at the shooting from the end of October.
Anecdote: "On the way home the assistant asks the director if he is happy now. Hm, I'm rather well balanced - he replies. Than I will tell you only two words - says the assistant - three centimeter."

Sunday, 2001 April 14
The director meets with the actress Ági Margitai to ask her to play a little part. Despite she didn't receive a copy of the script she accepts the role.

Sunday, 2001 April 15
Despite of the Easter holiday we don't stop preparing the film. The director visits Tamás Tóth, the snake specialist. At his home, in terrarium he has different types of crawling animals. He has only a little exemplar of the crossed viper indigenous in Hungary too, and the sand viper forbidden to keep in captivity. From the point of view of the camera is better to have a bigger animal, so they agree that the specialist will bring different types of snakes to the shooting.
In the afternoon the director works with the designer of the Internet page on the final version of the web site. They improve the logo, and replace the lost data.

Monday, 2001 April 16
Easter Monday. At five o'clock in the dawn the content and the form of the Internet page are finished.

Tuesday, 2001 April 17
At "Mokép" the director presents the homepage to the producer and the PR specialist of the company.
The G's crew is organising the beginning of shooting on Monday. They procure the raw material, the special optics and the necessary accessories as a police car, a siren, etc.
The assistant gets the telephone number of the selected actors, and the director asks them to accept to play their part.

Wednesday, 2001 April 18
At half past eight in the morning at the projection hall of the film laboratory the director and the cameraman watch the re-lighted test recording. It seems that there are chances to filter the greenness of the grass.
The organising work arrives at the last phase. But the operator forbids the crews telephone line. After half day of explanations they reconnect the line.
One o'clock: the Natural Scientific Studio from Kőbánya. The flour planted for shooting the special effect grew in half time we planned. The little bulbs developed into white flowers, probably because of the refrigeration it tries to recover the lost time. Until Friday we may finish the special effect, and we could send the exposed material to the laboratory.
The director should arrive to Kesernyés (Bittervile) by six o'clock to take picture with the members of folk music band, and he should choose the folk-song that would be recorded for the film. The G's crew is not able to assure him a car, so he has to take IC train at five o'clock to Sárbogárd, where he meets with Öcsi, the driver from Ozora. By half past six, when he arrives, the Culture Center is empty, the rehearsal finished.

Thursday, 2001 April 19 - Kesernyés
By morning the crew arrived to the village too. We have to find and organise the receiving of the local "specialities": the combine, the cow heard, the sheep, and the boar. The only boar in the village, Jimmy is too young and too slim with its 150 kilograms; but the local pig-farm can't "loan" us an animal, because after handling back they consider it as "substandard".
We find out that the chosen sheep cannot go to the place we request, so we have to find another place for shooting.
In the morning we manage to visit and to take pictures with the members of folk-music band "Napraforgó" that gained national gold medal. In the place of the local policeman, who rejected the role we find our local helper, Öcsi, but we cannot talk him into cutting his pigtail for the role of the policeman.
At Budapest disappears the macro optics. Somebody took it on the behalf of the G, but nobody knows who was that person. There was a little panic.
By evening at Kőbánya it is finished the shooting of the special effect with the flower. So tomorrow the material shall be in the laboratory. (Since, due to servicing, the Film Laboratory is open just till midday.)

Friday, 2001 April 20 - Kesernyés, Budapest
Early in the morning we find a combine, and we solve the problems with the shepherd.
At 10 o'clock we arrive to Budapest. The director meets with the special effect director. On Monday we have to start the shooting with a special effect, yet there are still two companies in competition.
By evening the producer has the two offers, he is the person who has to take decision. The KGB visual brigade won the competition.
In the evening, at the assistant's place the dramaturg (script consultant) and the director choose the actors. They have so many photos that - knowing the villagers - they manage to draw up two casts. In the night the G calls to say that he won't do the film anymore. After a short dialogue, we find out that he had a quarrel with the producer and - unjustly - he lose. Fortunately we was able to comfort him.

Saturday, 2001 April 21
Last finishing touches to the script.
In the afternoon, the director meets the actress Eszter Ónodi at a coffee shop in Budapest to talk over the role. After that at the director's table sits the G and the trainer to rehears under calm conditions the assignment. Half-hour before the theatrical first night they managed to meet Attila Kaszás at "Új Színház" to agree upon the appointments and the roles.
At 11 o'clock in the night, the crew meets at "Művész" cinema. They watch the special effect on big screen. After the projection there is a disappointed silence. The cut isn't perfect, and it isn't enough bad to be considered "stylish". Due to the 20 minutes stops, there were recordings of light exposure made by the sector on the Arri2C. Because of that the recordings of the two lateral cameras are useless. This is a bad situation two days before starting the shooting. In the evening the G inquires, and raises the crew's spirit. If we find another lily of the valley bud, learning from our mistakes, we may restart shooting the special effect.

Sunday, 2001 April 22 - Kesernyés
In the afternoon the crew is getting together in the village. Accommodation, getting acquainted. We'll start tomorrow morning.

Monday, 2001 April 23 - Kesernyés
First day of shooting the feature movie.
It's half past seven. We start on the Sió riverside, hours of assembling the crane; it's a cloudy, windy day, like in October. The special effect directors are at the scene too.
We start the 12 days of shooting with the technically most complicated cuts allowing the crew o get know each other. A day before starting shooting, the G got a white Lada Niva, now they making it a police car. Öcsi, having the role of the police man shaves - this wasn't an easy decision for him.
The Javelin crane is under assembling, but at the other scene of shooting, the IFA that transports the theatrical platform gets stuck, and it can't get there even on a roundabout route. In the end, the G, Galambos gets tractor with a platform. The construction is building. There is stormy wind, and the seven-meter high Javelin crane is swinging. Only on the cutting table we'll see if the recording can be cut earlier. Another three fix recording from the bridge, and about the - yet imaginary - F-16 fighter plane flying under it.
Lunch break.
We move the Javelin to the deep valley. Unfortunately the platform isn't horizontal enough, we have to lift it a little. During the construction is finished, the crew decides to move to Kálvária hill to record the scene with the snake.
After long time of struggle and one and a half hour of printing we have the disposition book for the first day. (This is the best performance of the matrix printer from the '80-s.)
All members of the crew help to move the Javelin crane to Kálvária hill. The producer arrives. The artificial snake-hill is finished, in which a rubber tube gives the only way for the snake. The snake specialist pushes the venomous viper into the tube, which reminds us the sausage filling. During the testing of Javelin turned out that the planned picture couldn't be recorded due to the camera's shadow. After a long dispute we made a compromise: we shall not go farther from the snake, we'll start the cut from above, and after a dizzying rotation it shall get in a position from which the shadow won't be seen. Among the "real" recordings with the snake, the third turns to be the best. We try to do more - of course -, but we have to stop before the possible perfect recording due to the short budget. Note: because of the cold weather the pour animal slowed down disastrously, he became obstinate, and after having hysterics that would be shaming for a prima donna (movie star) it was almost impossible to fill it in the tube.
Until we could get used to the presence of the venomous snake we come to the end of the day. Because of the twilight we cannot shoot the last cut with the earthquake.
In the late afternoon the destiny of the all day work of the workers from the deep valley is sealed: they have to pull down. We postpone the recording of the planned cut. In the evening the G's assistants gather the villager actors for the shooting from tomorrow.
The balance of the day: instead of the planned three shootings we managed to accomplish only two. The reasons: the complicated cut with the Javelin crane and the unforeseeable situations always deriving from the cuts with animal scenes.
In our hostess, Mrs. Tóth's garden we found some very small lily of the valley buds. With Csabi's help we took a few, and in the evening we send them urgently to Budapest where tomorrow it shall restart the shooting of the special effects.
This is all. End of the first day. Sleeping.

Tuesday, 2001 April 24
Gigi's pub.
At the beginning of shooting we record a few insert-pictures with the pin. We have realise a problem: how the pin will fall down by itself. The solution is a nail - but it's just a half-solution. Meanwhile it turned out that nearby a sow is on heat, and Jimmy, the boar will screw in a few minutes. Go ahead! The crew moves to the scene, and after a few settings we are witnessing a festive screwing. As a professional actor, Jimmy is making his performance just till we can record the scene.
Back to Gigi's we record the acting of Pista Pető, as it turns out later it isn't his last performance of the day. We have to re-shoot a few times the simple scene, because for some reason Uncle Pista forgets to pay for his drink. For the shooting the macro-scene with the fly, the crew starts to hunt after flies from early afternoon. When they gathered a few beautiful exemplars, it turns that the Hybrid Dolly is unsuitable for the planned movement, it has to be recorded with the Panther. The flies are free. In the bowling scene the men give the best of themselves. The best performance was of the pour speech defective man, who kept close attention to the recordings in the passage from a bench, with a beer in his hand. Unfortunately the beer forces its way out of the old man, when he brake through the fahrt-rails and interrupting the shooting he makes his way to the set, and with the comment "wogf, wogf, wogf", unburdens himself, while the crew was astonished by Uncle Wohf's "performance". The other recordings went well. It is worth mentioning that while we recorded the pins falling down by the bowl, there were 5-6 successive tries when the bowl didn't even touched the pins. The bowling alley is cursed. Due to the twilight we postponed the recording of the darkened bowl cut.
In the evening, at the fee-payment, Uncle Pista requests star-fee. The offered price is not enough for him, he wants much more than that. He didn't get it.

Wednesday, 2001 April 25
We have breakfast at seven o'clock. Nobody is in the dining room. And there is no breakfast. By half past seven we get the meal. After that the people are going one by one to the recording scene. There is total lack of organization. Half of the people vanish somewhere, so at eight o'clock only the camera crew, the director and his assistant is at the scene.
Finally we start working. Uncle Cseklik (Uncle Feri Bandi) appeared in his best
clothes, we ask him to change. Another two actors come, and we ask them to come back in the afternoon.
Uncle Bandi Feri changes his clothes in twenty minutes. We start working. We have to make him hiccuping. But how to do that? He can't hiccup. The solution: aha. Ridiculous. But it's working! It's a miracle!
It turns out that the water-deliverer boy can come only in the afternoon. But the boar is there. It grazes in the fields till his turn came on. At the end it rattles, it can't bear the strain, but we manage to record everything with it. Lunch break. Till the arrival of the postman and the water deliverer boy we record some insert pictures. Some of them are beautiful. The next is the hors carriage: we also record it a few times. Meanwhile we organize tomorrow's shooting. First it seems that today we can close the recordings with Cseklik, and tomorrow we can shoot on the field, but it turns out that this is not possible. After recording the scene with the postwoman we move to the house, where Uncle Bandi Feri plays his part in two interesting scenes. At the end of the day we work an hour on the disposition book. While the most fortunate ones are having dinner the director, the chief cameraman, the assistant, and the producer's assistant are continuously writing.

Thursday, 2001 April 26
Today's breakfast is the worst. It cannot be say that those lousy slices of bologna sausage and one slice of scraggy cheese, that should give us the energy for the whole day are a substantial meal. The crew arrived on time to the house of Uncle Cseklik. We start to record the gross-plans, since the other actors (Chinese woman) and the Mercedes will arrive later. We receive a bad news too. In the morning Aunt Mari was taken with an ambulance, so we have to cancel the recordings with her planned for today. For some time we don't know if she is ill, or she went to the hospital for examination. Comforting news: she isn't ill, only as old peoples, Aunt Mari was taken to the consulting room for examination. We have to do something else in the spare time. The combine, the Mercedes and the Chinese woman arrive. Despite that we can't start the shooting, because it turned out that the harvester part of the combine is one meter larger than the street, so we have to take it off, and shoot the combine without that. The director fights a while with the situation saying that we should bring a crane from the city to take out the harvester part. But he renounces. In the spare time we recorded insert scenes. For one of these scenes we need milk, so the producers went to the store to buy 5 litre of milk with the only available car, the black Mercedes 500 equipped with siren, that we'll going to use at later shootings. Meanwhile the street will be filled with goats instead of caws, because we can't get caws. The goat herd boy is unwilling to appear in front of the camera. We beg him, we persuade him to do it. OK.
We may start recording the scene with the combine. Theoretically it would work. The dark Mercedes with siren moving backwards is a historically important scene. And pathetic enough too.
The producer calls with indignation the director why didn't inform him about the famous theatre actors that participate in the movie.
The lunch is eatable.
After lunch we move in front of the dressmaker's shop for the Chinese woman (that turns to be Mongolian) could finish in one day. During the construction of the fahrt we record the cut with the earthquake that were postponed at the end of first day. Meanwhile we had an idea: we found an anthill, and we thought that this is what we need. We spent so much time with the macros, so we renounced and we went back. Downtown we are awaited for a while. There is another misunderstanding: nobody announced us that they are ready, and we couldn't call them to find out what is happening. During the preparation we have to fight another war with the hens, which wouldn't took advantage of the offered freedom to leave the fowl on the open gate. We don't understand why they fight to become soup, without having the chance of adventurous, free life. We finally managed to bring out some hens to the street, while we close the traffic with fahrt rail. We cut Kesernyés in two. Test shooting. Anyway, we have to pick up the fahrt rail in front of the bus on schedule, but the G found a yard, where the traffic could be diverted. We move back to Bezerédy Street, to Uncle Cseklik's house. The old man got sunburned during the five hours waiting. In the total plan of the camera the goats ate the grass. The children spoiled the sound recording. The postwoman wants to go home - probably to hoe her vineyard - but the crew dissuaded her. We have to send home the horse carriage, because the sun doesn't give the light we need. Uncle Cseklik is hiccuping automatically. Really. In the lighting break Uncle Cseklik show us his photos, among them the picture with that white horse that supposedly belonged to Miklós Horthy in 1920. The animal must have been like 80 years old by the time the picture was taken. After two inserts recorded inside, at twenty minutes to nine we called the day.
We make a list with the postponed and already recorded cuts. We handle the disposition book for tomorrow. We identify the actors from tomorrow. Diary writing.

Friday, 2001 April 27
Morning. We move to dressmaker's shop, that is only two houses away. The work seems to be hard, because the planned fahrt can be done only with special device, which requires hours of assembling. The chief lighting man and the fahrtmaster assemble the special device from three camera moving device pieces, boards and ropes. This time come just at the right moment, because it turned out that we have to put some women on the empty sits from the dressmaker's shop. After assembling the fahrt we start rehearsals, followed by unsuccessful recordings because the women are going to lunch break. In that time we serve tea. After the break we urgently continue the work. Than we have to make opposite fahrt. The women are very impatient: they have to feed the chicken, to water the goose, to hoe the vineyard, but they are willingly doing theirs job. At three o'clock we start recording the gross inserts. Aunt Mari, who wasn't taken yesterday, but today by the ambulance, arrives in the afternoon, and she plays her part with talent. We have to re-shoot this cut because one of the assistants spoiled it by his camera's flashlight. The G is worry for the expenses. At seven o'clock in the evening, when we have to finish the shooting, the women are still working at the dressmaker's shop. The cameraman and the director are visiting the scene of Sunday's shooting.
During the second part of the afternoon shootings, the sound editor left to record some atmospheric sounds. He wanted to record the squeaking of the Cseklik's front door. But the squeaking stopped, because yesterday the crew took off the door, and when they put it back, the sound stopped. Ouch!

Saturday, 2001 April 28
Outdoors. We start at 10 o'clock. It's a day with Panther crane.
Aunt Mari is skilful, but as she arrives, she wants to go. For this scene we receive from Budapest a dead, frozen mole. We have to hurry, because after a while it's hard to take picture with it. Aunt Gyula, the owner of today's scene gave away her dark-headed puppy that we chose a few weeks ago, so the director give its part to a Great Dane owned by his host. In one of the scenes, the dog has to eat the mole, but it has such a smell, that the dog rejects it. We smear the mole with sausage, but it's worthless. We postpone this cut too. During we record the scene with Aunt Juci, the local locksmith took out a piece of Aunt Gyula's fence to make room for the camera.
Lunch break.
We go back to the house. The G's crew is marking time they say that one of the actors is in late. Later, the G calls us from 40 kilometres and tells us that the postwoman left the village to visit her daughter. The producer now is looking for her. We shoot inserts the supplementary cuts to not waste time. But the clouds covered the sun, so we are not able to make connection with the cuts we have already made. After three hours of compulsory break we move to the shepherd's farm.
We postponed the shooting in the cemetery.
We shoot the cut with three men and Edit in a small inside scene. There is room for only one bed for the three men. The actors are complaining asking if the spectators won't think of something else, because it would be shameful for them. We rehearsal the scene and we move fast outdoors to shoot in the twilight. In the middle of the most beautiful part of shooting appears the owner. He staggers in a state of drunkenness, and he protests against our rebuking. The camera assist is black and white, and so bad, that in the twilight it's impossible to see what the camera sees. We go inside. We have to do overtime, but due to the three hours of compulsory brake in the afternoon, the G's crew accepts the situation. Outside, the sky turned yellowish because the nearby forest-fire. First, the crew is surprised, than they call the fire station. The firemen arrive, but because of our light-car and generator they can't approach the fire. They go by foot towards the orange-colored lights. By the time we finish the recording, they manage to put out the fire. Everybody go home. We have one postponed scene and one cut. The insert list is growing. In the evening there is a street party for pub opening. Those who can are attending the party, but the most part of the crew have energy only for sleeping.

Sunday, 2001 April 29
Outdoors, fields, source and shepherd's daughter.
Sweltering heat.
We receive a 15 meters long crane. Upper total plan with the sheep. It's like a cyclone's whirlpool in the weather forecast. Only the director and the cameraman's assistant are climbing the heights, so the director is making this cut. We shoot the scene with the shepherd's daughter on a swampy field. Only two men are ready to put on plastic boots. The director is taking the cameraman on his back through the swamp.
The local actors are great. Jani is peacefully letting us to stick with honey one ladybird on his face.
We have problems with the pump and the well. We want to shoot from the well upsides, so the G has to find a concrete ring. The light-men have another idea: to put a mirror in the well on a light piece of wood. The reflected image is like angels in a Baroque church.
In the evening arrive the airship and its crew. Tomorrow the director, the cameraman and the focuspuller will take off over the village.

Monday, 2001 April 30
Correction: it would take off, because the atmospheric conditions don't permit that. They take off, but the wind took them in completely different direction. We postpone the flight for the evening, but even then a strong north-vest wind blows.
Today's shooting scene is the fields, where the Midwife, Aunt Mari Rácz is collecting herbs. Fortunately Aunt Mari is a genuine professional, so we finish fast the first few cuts. But the stork brought by Péter Huszák proves to be too tame. Six hours long it stays so motionless, as it wouldn't be real. (By the way it is a professional too, as it was the protagonist of the film "Kele".) The rabbits give us hard time due to theirs restless, so we spend long time to record one of them.
The crew is fighting with the heat, the 80 years old Aunt Mari tires too soon, so we continue the shooting on the bowling alley from Gigi's pub. The shooting of the pin covering the optics turns to be harder than we thought. It requires special joinery. We send home most of the crewmembers, and we try to take off with the airship. But there is so strong wind, that we postponed this cut for the next shooting stage.