THE YEAR IN REHASH: OCTOBER - Just Passing Through (More Ghosts)

A blink in the beautiful blooopers.

 

 Beginning to wind up this review of my favourite or at least more conspicuous posts from the last twelve months, this post from October is entirely about stuff from January (including another plug for my Frankenstein Meets the Wolfman essay) but I really enjoyed writing about this job. I have only one wince of regret, which I didn't mention before, and that's the lack of preparation I put into the shot where I return to my seat after making peace with Pat. Every time I see it I wish I'd entered looking more rattled, smiling with relief only as I turn to the window and realise closure's finally been achieved.

 

 As long-term readers of this blog will know, I maybe don't have that much experience of actual closure, so what do I know, but this just looks to me just like someone very happy with their new kitchen. That's my problem though. What a job. What a show. What a team! From October the 29th...

  This, gloriously, is the scene we filmed the day Terry Jones died. I can't think of a better way to honour the man's memory. The blow that initiates the cacophony was achieved by digitally removing Jim Howick's fist as it nears my body so it looks like it's passing through. We're not as close to each other in the still below as it looks, in other words, there's a false perspective or something, I think that's how it was done anyway, it's... Does that look right? It was back in January, I've no idea now. Welcome to Behind The Scene with Kieth Darren Dean! 

 

  I definitely remember that when I walked through Jim in the next scene, after leaving the stump, I passed him on the right and this was then digitally shunted to the left to overlap him, but you probably guessed it was something like that. There was a green screen set up outside the house. The weather was perfectly overcast, although there was no snow. It looked like this. That's frost on the ground.

 

 The frost disappeared as the day wore on, and the sky was perfectly overcast for the effects shot I enjoyed filming most which had nothing to do with passing through anything. That beautiful picture-book longshot of Keith and the Ghosts standing like transfers in a field was a composite. Lots of little shots put together. Here is a photo director Tom Kingsley posted of its filming:

 

 Spot the chancer on the far right. 

 Each of us ("us" - Get me!) had to walk up the strip of white plastic alone, pause at the end, then walk back in front of everyone else without giggling, like a shy fashion show. It was in its way the silliest thing I witnessed all week and I felt blessed to have a seat at it. Actually, it wasn't so much like a catwalk I now realise, it felt more like - Have you seen The Ususal Suspects? 

 

 (Trigger Warning:Spacey. Rudness.)

 

 Here is that episode. 

 And in other notices, continuing the Hallowee’en Countdown through Universal’s Frankensteins, here is the one instance of proper scholarlship I managed in the entire run - a piece of sleuthing that will change the way you watch 1943′s Frankenstein Meets The Wolf Man FOREVER!