Ten Years On: Robot Overlords and Pinewood Pick-Ups

Long time readers of this blog will know that I’ve been looking back at my diaries from ten years ago, during the making of Robot Overlords. Some of the diary entries you’ll see are the ones featured in the back of the film’s novelisation (and if you want a signed and dedicated copy of the paperback, then please step this way and click here). 

After the test screening and the comments about the title Our Robot Overlords, there was a frenzied email debate among the producers about what to call the film. Some of the suggestions were (and these were all real suggestions!)…

Cyber-Lords, Robo Warrior, iDrone, and, my favourite, Alien Scrapers (really!?)

We finally went for…

… drum roll…

… can you bear the tension…?

… ROBOT OVERLORDS.

Phew. That was close.

So after many test screenings, we identified the points in the film that needed pick-ups. Not re-shoots, but little scenes that help glue the film together. Some were very small – a finger tracing a line on a map – others were a little more involved, such as bluescreen shots for the finale, and new scenes to help clarify the story. We had always expected to shoot these and there was enough in the budget for one day at Pinewood.

I also saw this as an opportunity to ask the actors to read an extract from the book on film. The plan was to record them saying individual lines as they moved around the studio. I had originally envisioned maybe doing this with my cheap old camcorder, or even my phone, but an old schoolfriend – Jeremy Mason – who now makes documentaries and has done more reality TV than any one person should endure, came to the rescue and offered to film everything! The clip is below…

Sunday 2nd March – Pinewood

Really tired, but if I don’t write this now…

Friday night was a rehearsal and reunion with Callan, James and Ella (Milo had only one line and it seemed unfair to drag him across town to rehearse that). Jon and I had written two scenes for the following days’ pick-ups and we had a couple of hours booked in the Millennium Hotel in Sloane Street.

Any fears we had that we couldn’t recapture the gang’s camaraderie instantly evaporated. They clicked back together like they’d never been away. 

On Saturday morning I picked up Gillian Redfearn (the book’s editor), and Jennifer McMenemy (Gollancz marketing manager) from Slough Station and we made our way to Pinewood Studios, up Goldfinger Avenue and into stages N&P. Shooting was already underway: the finger on the map.

Not long after, Jeremy and his sound guy Matt Johns turned-up with some serious-looking kit… and to think I was going to do this with my poxy little camera.

I had explained the book reading idea to the kids last night, and that I didn’t want to get under their feet, and that I knew it was a long day etc. Well, once again, I needn’t have worried. We had everything we needed by 2pm. They threw themselves into it and we shot all over Pinewood. Just fantastic. I couldn’t have asked for more. A particular highlight was Milo learning a gory bit for the dinner table, and all the others walking away in disgust.

In the afternoon, Jenn interrogated me for author interviews, and thank God she was there to coach me, otherwise the message from me would have been ‘All teachers are weirdos like Smythe,’ and ‘This book will give you nightmares’.

Jeremy and Matt were just brilliant. Quick to react to an actor’s sudden availability, they were professional, discreet, fleet of foot, and the few clips I saw at the end of the day looked extraordinary.

And then Louise Mason turned up and did the impossible: took some photos of me where I don’t look like a gurning idiot!

Jon and his crew worked tirelessly through the schedule. The scene we wrote at the wall overlooking the school (shot against bluescreen) worked really well.

Then we all decamped to the container park on the edge of the studio. It was dark now. Clear skies and bitterly cold. We arrived just after 8pm and we had to release Ella and Milo at 9.15 (there are strict rules about how long child actors can work for). The crew sprung into action. A crane rose in the distance with a powerful light beaming down on us, a smoke machine added atmosphere and fresh sandwiches, cookies and tea helped keep us warm(ish).

The kids must have been chilled to the bone in their costumes, but there wasn’t a word of complaint, just singing and fart jokes (we could hear all this via our headphones picking up their radio mics).

We got what we needed in time and everyone hurried back to the relative warmth of their cars. I gave Jon a lift to Gerrard’s Cross train station. He was tired but happy with the day’s work. Mission accomplished.

Here are a few pics from the day, all photos © Mason Photography, http://www.mpsv.co.uk

And you can find a full playlist of Robot Overlords videos by clicking here.

Robot Overlords: Test Shoot at Pinewood 16th March. 2013

I’ve only recently realised that Robot Overlords is nearly ten years old, and that we started shooting in May 2013. But before that we had a day of test shoots at Pinewood Studios. It was to see how the kids worked together, and so a set was built of a sweet shop for the scene where the gang stock up on fireworks and sweets and decide what to do next. At that point we had two of our eventual cast, Ella Hunt as Alex and Milo Parker as Connor, and two cast members who wouldn’t be in the finished film: Harry Lawtey as Sean and Eros Vlahos as Nathan. Not sure why it didn’t work out with Harry and Eros, who were very good, but such is the nature of the movies and they’ve both gone on to great things.

Jon workshopped the scene with them all day. As screenwriter, I wasn’t really needed (but there was no way I wasn’t going to be there) and so spent most of the day wondering just how much grub I could pinch from craft services before I was evicted from the studio.

Here’s one entry from my diary for that day…

The big surprise was Milo, who — once you stopped him looking at the camera — was just terrific. Funny, watchable and full of energy.

Here are a few pics from that day on Stage H, Pinewood (and more to come throughout the year)…

The Robot Overlords are finally here…

On 13th July 2010* I received an email from Director Jon Wright with the subject heading ‘Two page idea attached’. In it he outlined a movie idea that had come to him in a dream: a world where humanity had been defeated by an invading alien robot empire and everyone is ordered to stay inside their homes. Back then it was called OUR ROBOT OVERLORDS. Some of those ideas have survived through to the finished film, some have fallen by the wayside and others could still be used in potential sequels or TV series, but already the world felt strong enough to start bouncing ideas back and forth and start working on a script.

And so ROBOT OVERLORDS was born, and a mere four years, eight months and fourteen days later it’s in UK cinemas for the public to see. That’s pretty fast for an independent British movie.

Jon and I met back in September 2006** when he became attached to a screenplay I’d written called WAITING FOR EDDIE (later EDDIE’S DEAD). We were introduced by a Producer called Dean Fisher who had optioned WFE and had got the project into the inaugural Film London Microwave scheme. Over the week of workshops and development we all bonded, but I knew I’d get on with Jon because when we first met in a Nero’s outside Liverpool Street Station, we banged heads as we sat down and were both too polite to say anything about it.

We worked on developing a number of scripts over the following years while he made TORMENTED and GRABBERS, but ROBOT OVERLORDS is the first of our joint projects to get off the ground, and I have to admit that there are days where I feel like I’ve jumped the queue. Because what you’re supposed to do is make a mega low-budget horror or two and then you might be lucky enough to make the kind of science fiction adventure that you loved as a kid.

And it’s been one hell of a ride. I’ve seen and done some incredible things during its making:

Felt a strange, other-worldly thrill at the first shout of “Action” on set.

The firs take... ruined by a bunch of us taking photos on our phones. Photo by Paddy Eason
The first take… ruined by a bunch of us taking photos on our phones.
Photo by Paddy Eason

Watched actors of the calibre of Sir Ben Kingsley, Gillian Anderson, Geraldine James and many others take our words and bring them to life.

SBK gives it his all.
SBK gives it his all.

Not to mention watching our gang of heroes Callan, James, Ella and Milo genuinely become friends over the course of the shoot.

Jon chooses who get vaporised next...
Jon chooses who get vaporised next…

Stared in awe at a bluescreen stage and wondered what the ten-year-old me would make of all this…

Blue is the new green.
Blue is the new green.

Strolled around Pinewood Studios like we owned the place.

Author videos are so much cooler on the backlot of a major studio complex! Photo my www.mpsv.co.uk
Author videos are so much cooler on the backlot of a major studio complex!
Photo my http://www.mpsv.co.uk

And, bloody hell, Jon even let me be in it (and my family!)…

Me in the much-coveted role of shouty man in dressing gown...
Me in the much-coveted role of shouty man in dressing gown…

George, Claire and Emily in costume for our day as extras.
George, Claire and Emily in costume for our day as extras.

Being thrilled as Nvizible took our ideas and came up with stuff like this!

Robots  v Spitfire!
Robots v Spitfire!

And then I got to write the novelisation (available now wherever books are sold)!

I attended the premiere at the London Film Festival like a proper Z-list celeb!

All the beautiful people at the LFF premiere... and me!
All the beautiful people at the LFF premiere… and me!

And did my first panel at a ComicCon:

2000AD creator Pat Mills ran our panel!
2000AD creator Pat Mills ran our panel!

IMG_2609

I’ve chronicled some of those events on this blog, and there’s a whole ‘shoot diary’ section in the book, and I’ll no doubt bore you with it some more over the years, but for a first film I could not have asked for a more incredible experience and I suspect I may never have it this good again. And now the film is now in the hands of the Great British Public.

Some folk have expressed dismay that it’s not on everywhere, and we do indeed have a limited release, but that reflects the reality of British indie cinema distribution at the moment. And you only have to look at the box office returns of the last ambitious Brit Sci-Fi Film to see why some lesser distributors were nervous about taking us on. But our bold and pioneering independent distributor Signature have a very clear strategy for the film over the coming year, and this is only the beginning. I have faith that you’ll all get to see it one way or another, but if you can see it on the big screen then do please go: plenty of people worked very, very hard to make it look and sound so magnificent.

See you at the movies…

 

*I keep a diary, so can very specific about dates.

**1st September, since you’re asking.