That’s how it always works on a film set. The only thing I can usefully do is to start writing the first chapter of The Story. ![]() Everyone is squelching about, looking depressed, especially Mike Eley, the DP (see– you get the idea). Lindsay has produced lots of films in England during the summer and, even though she is American, she understands our weather. ‘Because we are shooting this picture in England during the summer,’ says Lindsay. It’s raining and we have had to stop filming. To our right is the Scratch-O-Matic (see here) to my left, the Sound Department (see Glossary). I am sitting next to my friend Lindsay Doran, who is producing the film (see Glossary). I’m wearing mud-covered snow boots, leggings (ill-advised) and an enormous puffy jacket. So Simon drew lots of pictures and hundreds of people worked like stink and now I am sitting in front of a beautiful old farmhouse with a dovecote and outhouses, an original ancient barn and a fascinating garden, which ALL looks as if it has been here for hundreds of years but in fact was only finished last Thursday. Months ago, Susanna White (the Director – see Glossary) and Simon Elliott (the Designer – see Glossary) saw this location and decided it was perfect for the story. We are on the set of Deep Valley Farm and a most magnificent set it is. I am here in case anyone needs to change what they say or needs something extra to say or needs to CUT DOWN what they say. I am playing Nanny McPhee, but not today because she does not appear in this scene. Here we are on the first day of the shoot of the new Nanny McPhee film.
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