from Sound Mixer Bob Newton:
"...Director Armando Iannucci wished to reduce technical constraints to a bare minimum in order to allow the cast maximum freedom...
For the most part the script was a work in progress. Nothing was rehearsed. Artists were encouraged to change anything, eg to ad-lib, to ignore overlaps, to add additional material and to use any areas of the building/location. With such large action areas, I had to site radio lav receivers most carefully in order to ensure that there was sufficient coverage. Fortunately the set dressing often included many cardboard storage boxes that I could use to hide receivers...
The collaborative approach resulted in something much more akin to a theatrical workshop than a conventional shoot. We just did takes with no technical blocking. Therefore I was aiming for 100% usable sound, 100% of the time...
This process resulted in a very large amount of material - we shot the equivalent of approximately 20 pages a day, with some takes lasting up to 20 minutes and no two performances being precisely the same. I ended up recording about ¼TB of audio data...
Each artist was mic’ed and fed to their own track. Booms provided permanent additional coverage. This allowed the production maximum flexibility for camera shots. The largest set up was 9 radio lavs and 2 booms. The majority of scenes relied heavily on the lavs but there were a number of scenes that ended up being covered entirely by booms - the scene in the child’s bedroom (in reality a squash court in a disused Army barracks in North London!) between James Gandolfini and Mimi Kennedy is such an example. By adopting this multi-tracking approach, the Editor and Dubbing Mixer were afforded ultimate flexibility in the post-production process...
The film was entirely shot using two cameras. Often one camera would be picking up tight shots and the other would be following the action in a wide shot. On these occasions I invariably relied on radio lavs...
On occasions the two cameras were split into two separate units, filming simultaneous action in two separate areas. These two separate events could become linked as the action unfolded. On these occasions, I provided specialist monitoring to allow the director to select the audio sources he wanted to hear...
Working in this fashion is both challenging and fun but it does raise quite a number of problems for all departments. However it was a very pleasant shoot with a professional cast and crew all pulling in the same direction, resulting in a positive and stimulating atmosphere on set."
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