James: My favourite person is Gareth Spensely. Gabby and myself hold this man so dear as the man who saved “Nightshift” for us. I’m actually surprised that he will work with us again. It is always such a great time working with this guy as you know that he shares the same level of commitment to your project as you do. He is a consummate professional, and is doing really well for himself as a result of his hard work.
Gabby: Yeah, for some reason Spense manages to always managed to sustain this immense optimism even in the darkest hours. To be fair he saves my arse and does an amazing job on the colour correction, you look back at the rushes and think – ‘What was Gabby thinking?’ The continuity of colour starts to make the individual scenes feel like a film.
James: I get a break to buy tapes from the other side of London. I feel like a runner again, and I have little moment whereby I realise that I’m on the same streets that I ran on three years ago.
Once again, Spense does wonders for our film, and Gab and I start to feel a strange sensation surrounding our film – pride. It has literally joined us this late. Up to this point I know I certainly hated the little bastard, as it represented £1880 of my cash and so much of my time. Now though, I might actually like it.
That night we joined some friends for a meal in Islington, and I felt strange. This is largely due to the fact that I hadn’t seen them in ages, and that I was tired, but something dawned on me: they were all in London working fantastically hard in their media jobs and were making headway, and there was Gab and I, in our other cities, chipping away in a different fashion, and it didn’t feel wrong. I truly believe that there are no rules that apply to making it in media; you just have to chuck everything at it and see what happens.
