This has been my third week back on production as Associate Producer. My day usually starts with an early morning meeting with the film’s producer to talk through the different areas of production - shooting, archive, editing, PR - and together we draw up a list of things that are high priority and need immediate attention.

In terms of the edit, it’s still very early days, so the film’s structure and narrative are being constructed chapter by chapter. This is evolving daily and has a knock-on effect on the rest of production as the directors and editor gain a better understanding of the archive sources that will help best tell the story. I am in constant conversation with the film’s archive producer, Richard Wiseman, who is chasing up leads and trying to locate unseen footage. I’ve also been talking to music publishing houses about particular songs that we’d like to use in the film, as well as conversing with different archive sources in the UK, Germany and USA to negotiate footage costs and delivery.

This week I’ve met with the film’s directors - John McKenna and Gabriel Clarke - to plan out the reconstruction filming that we need to do. This also involves drawing up budgets and schedules alongside my line producer as we source locations, actors, props and cars for each shoot. This week I also met with our director of photography to discuss the filming and how we can maximise the quality and production value of each shot whilst working within a realistic budget. One of the most exciting shoots that we are planning at the moment is drone filming in France in December. This will hopefully give us some really epic, cinematic sequences that will help weave the film together, so this week I’ve been talking to companies in France and the UK who specialise in drone filming.

This has been the to-do list for today, but I’m sure it’ll be completely different tomorrow!

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