2. The First Day of Shooting

In the run-up to the first, standalone shooting day, I was busy with preparations every day for three weeks. I've rarely been so busy, but I've also rarely been so happy. Because the film was really going to happen!! Looking back on those weeks, I'm sure that filmmaking is for me, as I bore the pressure on my shoulders with great love. My drive remained...

So what still needed to be done before we could actually head to the Maashorst? Well, we had to fit the costumes, scout the location, maintain the crowdfunding, arrange boots because the area turned out to be partly underwater, update the script, rehearse the script, make a shooting plan, create a shot list, rent the recording equipment, inquire about extra costumes since we apparently didn't have everything, think about what we were going to eat, create a transport schedule, compile the material list, order crickets, make the call sheet, feed the crickets, hope for good weather, make a rain plan… because we had a small production team, a lot fell on my plate. Usually, multiple people would handle all this. But I enjoyed doing it and learned a lot.

On May 1st, my cameraman Sietse and I picked up all the equipment in a shabby rental van. We had a big Panasonic with an incredibly cool lens, a gem from the 1970s as long as my forearm. Then came the day, May 2nd. Big Day. We had incredible luck with the weather. Bright, warm sun until late afternoon, with a few clouds. After that, a big storm was expected. But we had time.

The production got off to a somewhat rough start. The actors were getting their makeup done at my dad's place in Vlijmen, but there was a problem with the costumes. It wasn't clear how the leg pieces, based on Ötzi's clothing, were supposed to be attached. I had made notes about it, but I had already gone ahead with the rest of the crew to set up the base camp in the Maashorst. Unfortunately, this delayed us by about forty-five minutes, and we started filming an hour later than planned.

With everyone in boots, we set off through the nature reserve, guided by rangers Marc and Arjen. Due to the heavy rainfall, a layer of water had covered large parts of the Maashorst. A curse and a blessing, because although logistics became more difficult, it provided an opportunity for beautiful shots. We walked to the first filming location, a real bison carcass. Staatsbosbeheer had had it shot a month earlier because it was old and sick, with no quality of life left. In this nature reserve, they let the carcass decompose in a discreet place. When I went with actor Luqman and cameraman Sietse to scout the location with the rangers, they showed us the fresh carcass, still teeming with maggots. The appearance was so striking, giving such a strong sense of death, that I wanted it to be part of the film. When we filmed there on May 2nd, the carcass was "dry," meaning there was only skin and bones left (and a lot of flies). 

Filming finally began an hour later than planned. It was so warm that we couldn't use the fur coats, beautifully made from muskrat fur. The first scene was simple: the two main characters meet at the carcass. A greeting, a hug. But with the first shot, we already encountered one of the difficulties that arise when trying to create a 'natural' prehistoric environment: we had set up a beautiful wide shot, just like a painting, but in the corner of the frame was a ringed log. A straight strip of bark had been removed with a saw, a very typical modern mark. Another camera angle was far less beautiful. Choices had to be made! We solved it by placing a large branch in front of the log, and you had to look very closely to discover the straight ring.

An interesting dynamic emerged between the script and the performance during the scene rehearsal: the script was the guideline, but adjustments were made when something didn't feel natural. The actors frequently contributed their own ideas regarding dialogue and performance, and the scenes gradually changed, improved, and enriched. My goal of giving the film participants co-ownership succeeded!

With the morning scene completed, we still had plenty of time to film with the wisents. We could take all the time we needed, which was necessary, as the animals did not immediately cooperate as expected. Moving with nature was our motto. They were, frankly, just in a lousy spot. In front of a fence and poles. And behind the fence, a man in a purple jacket was taking pictures. He was having the time of his life being so close to the herd, but I gritted my teeth because it wasn't certain that we could capture the money shot. A money shot is the most important, most spectacular shot you film for a movie. For us, it was the shot where you see the actors alongside the bison, the magical moment where the presence of the animals is truly realized. But if the herd just didn't want to stand in a nice spot, there was nothing to be done about it.

The herd manager, Arjen, said we could walk around. After half an hour of trudging through the water, we could get behind the fence. But the animals might have moved to a completely different spot. I suggested we wait. Apparently, we could walk a bit further into the field from here, hoping for a better angle. The wisents had now seen us and were used to us, so we could get a bit closer.

And yes! They moved away from that stupid fence! Although it wasn't the most stunning angle, we got the actors in frame with the herd. Arjen said we could get a bit closer and film from a hill in the middle of the field. We went only with Arjen, the actors, Sietse, and myself to keep our presence as minimal as possible. The angle was even more beautiful here, and the herd had positioned itself in a breathtaking spot. In shallow water, in front of a clean forest edge with artistic pines and birches. And they seemed to be showing off, looking proud, splashing water around as they walked, and one of the animals made a leap. I did too. I wouldn't have dared to dream it. We could get even closer, and then even closer again. We were only 50 meters from the wisents. I had tears in my eyes because it worked; after all the preparations, the magical shot had succeeded.

And then they were done with it. It was over. The whole herd started walking toward us. Not a trot, but a walk with a clear message. It looked spectacular, but also in a way that made you think, "Well, I don't want to watch this for too long." It was unbelievable, but in the same minute they started walking toward us, the sun disappeared behind the clouds and the wind started to blow. The storm was approaching. We packed up and left. It was 5:00 PM; the workday was over. It's a wrap!!

May 2024