BL&F 20: CASE STUDY: DAYS OF WORK
Updated: Jun 1
This chapter shows the method Hutchings used for the majority of the filming that included other cast members. There are notes on his 'Fedit' (an abbreviation of 'filming for a predefined edit') Method as well the Master Sheets reflecting what action would be shot in each set-up with the corresponding frame from the final film. There is also stills of the shoot that show how different the location actually looked.
This sheet lists Hutchings' general rules for his Fedit shooting, followed by his Presents Inc Numbering Method. This was how Hutchings kept track of his non-chronological shooting to ensure that he had the correct coverage to fulfil his edit plan. He could shoot all the shots for one set-up with as little coverage as possible in the aim of maximising the amount of time spent on footage that would actually be used in the finished film.
These Master Sheets show the storyboard with what section of the scene needs to filmed as a take listed underneath. A new number and line across the script denotes what must be filmed uninterrupted for Hutchings' edit to work. Using a pre-defined edit structure, Hutchings built Madame Bonneville's Farm using framing suggestions and eyelines. A raised landing in a neighbour's garden was used to stand the inhabitants of the farm above Django and a little soil was thrown to represent the digging. The shots that feature the scene's whole cast were shot during one shoot while the shots of Django on his own were shot at a later date. Hutchings set objects in the extreme foreground to double as the dress of Madame Bonneville and the legs of Lee Cobb and the farmhands.
These on-set stills show how what the location was actually like. As he couldn't find an actual farm that suited his Exifestern ideas, Hutchings built the imaginary location with framing, much like in The Big Putdown.