It’s May 2014 and I’m on set with the production crew at a film studio in Bromley-by-Bow, staring at a tiny black-and-white monitor on which live footage is playing of the action taking place to my right. Four men in white jumpsuits and thick stocking masks run into a room. Shots are fired: someone’s hit. The action stops, comments are made by the director, makeup is touched up, cameras are reset and then the process repeats. The film in production,…
Want to read more?
As an unregistered user you can view 5 articles per month.
You can register free to get a further 15 free articles
and access to 2 digital editions per month
or subscribe for unlimited access
If you have already signed up access you account here