Into the wilderness... Behind the scenes of 'Ferrying Fee'
Shooting 'Ferrying Fee' was a wild and challenging experience. For one week on location, the weather shifted between blazing hot one day and stormy the next. We've uploaded some behind-the-scenes stills of filming, our incredible crew and some of the craggy cliffs and pristine, sparkling coves we were able to use as locations.
Travelling by boat to locations.
Richard Felix, who plays the pirate, was fascinated by the environment.
The island itself plays an important character.
We needed tonnes of suntan lotion.
Agustina Jaques helped a lot with all the underwater scenes. Here she is training Richard before the shooting.
Sergio Álvarez-Napagao, the cinematographer, Jordi Montornès, assistant, and Chris Long, second underwater unit, did an amazing job with the underwater scenes.
We used old-school effects, such as ropes and mannequins, to represent the furious siren underwater. Here, Sergio and Jordi are waiting for her.
"I remember holding the camera over my belly, thinking that this would be the first time my baby held a camera - before it was born! I was almost 6 months pregnant. It was a great experience thanks to the amazing crew we had", director Carme Puche.
Under the glare of the sun it was really difficult to see the screen properly. Here is the director, under "something" trying to see the last shot. The cinematographer, Sergio, is waiting for the "OK".
'Ferrying Fee' was our first film with underwater scenes. It was also the first time Sergio had been underwater cameraman. By the end of the day he was completely exhausted.
After an hour thinking that we had lost all of the day's footage (the underwater camera case had leaked), the images finally appear on the screen...
We shot two nights. It was windy, but beautiful.
Working with wind and fire is not easy. We must have spent hours trying to start the fire and keep it going throughout the scene.
The island itself is an important character in Ferrying Fee. Sound, Jordi Rabascall and Harrison Long, had to be meticulous with their work.
Some of the locations were a hike away, so we had to be prepared!
Luz López, first assistant director, on the boat travelling between locations.
We had to share our deserted island with sunbathers.
Richard Felix and Erin Donovan, the writer and soul of this project.
Sergio, the cinematographer, and Ana, our brilliant art director, resting in the shade.
Josep M. Alejandre, one of the sailors, looking for shade.
Sergio: "I need to discuss something with you" Carme: "Let's get in the water". Yes, it really was that hot...
It was interesting shooting underwater, but we also shot a lot of 'overwater' scenes. Protecting the equipment and getting everyone floating in the right place was a real challenge.
Javier Rueda, a terrific cameraman and amazing editor, here with our beloved Blackmagic URSA. Behind him, Silvia García Palacios, producer and script supervisor during filming.
Mercè Monatalà continued to play the ethereal, mysterious siren even when she had to climb, freeze in the water or suffer in the blazing heat.
Returning back to the hotel at the end of the day.
The nights we didn't shoot we spent discussing everything we'd done that day, and the plan for the following day.
Last day of shooting, in Roses. Nídia Tusal, the best costume designer we could have had, is commenting on the scene with Carme, the director, while Jordi is backing up the material.
Shooting with URSA was perfect for this kind of location, with such noticeable difference in light between the shade and sun.
It was never easy to get a good look...
From left to right: Gerard Fosses, Daisy Long, Jordi Montornès, Javier Rueda, Silvia García Palacios, Fabián Rojas, Nídia Tusal, Richard Félix, Carme Puche, Sergio Álvarez-Napagao, Luz López, Abigail Long, Susana Jin.