The last location shoot of LOVE IN SPACE took place in Sydney, Australia.  Since the rest of the movie was already in the can, the atmosphere during the Sydney shoot was relatively relaxed.  Another reason for the stress-free set was that all preparations were done before filming began, in accordance to the Australian filmmaking style – permits were already, the shooting time set.  The majority of the crew was also made up of local Australians, so we follow the custom and everything had to go according to plan.  Even for a simple set up in a public area, the authorities had assigned traffic controllers.  It was to assist the filmmakers, as well as making sure the team would not take up the whole area and disturb public order too much.

 

Besides the leads, Eason Chan and Kwai Lun Mei, Gordon Lau Ka-fai, who played Eason Chan’s father in the film, joined Eason and Kwai Lun-mei in Sydney.  The Australian crew, many of whom knew Gordon from the movie KILL BILL, was excited to meet him and even asked him for his autograph.

 

Blessed with beautiful weather during the Sydney shoot, the cast and crew from Hong Kong were in good spirits.  As Eason practiced riding a bicycle for a scene, the joyful mood prompted him to perform cycling tricks for the crew, earning cheers from the crew in the process.  No one knew what an accomplished cyclist Eason was.  For another scene about Eason and Mei’s reunion at a radio station competition, dozens of extras put on wings to dress as culprits. The crowd ran in the streets in an explosion of color, so delightful that even our producer Fruit Chan was moved to take part in the scene.

 

Since most of the filming in Sydney was done outdoors, to make good use of the natural light, the call time was set at 4am every morning.  Each day began early and ended at around 4pm.  The directors would take a rest before going through the next day’s schedule at dinner.  The arrangement made for an orderly, even cozy shoot.

 

The filming conditions in Australia were superior to that in Hong Kong or China due to the production system there.  The fleet of automobile joining production each day consisted of thirty plus cars to boost our near hundred of crew members. Trailers were assigned for the wardrobe department, for make up and rest for the actors, and for the filming equipment. There is of course the electricity generators as well. Catering service prepared and provided steaming hot meals for the cast and crew; no one had to eat out of Styrofoam lunch boxes.  Hot coffee and fresh fruit were in constant supply and the snack cart was always around.  In striking contrast to what was considered the norm in Hong Kong, at lunchtime during the Sydney shoot, everyone stopped working and eat their meals at real tables.  Knowing what it meant to live the good life, Eason would go to the nearby seafood market during lunch to enjoy fresh oysters.

 

Nevertheless, there are always unforeseen incidents on a shoot.  One of the most common occurrences was to wait for the sun to shine.  It was a challenge for the actors, especially during emotional scenes when they had to repress or release their emotion; but Mei handled the situation with grace.  In addition, the directors were put under pressure to finish the scenes within the time allotted to avoid costly overtime pay.  It proved that flexibility and speed were the advantages of filming in Hong Kong and China; while in Australia, it was the system and material resources that made filming there such a joy.

 

 

 

 

 

 

 

 

 

 

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