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Everyone craves greatness. | 0:00:04 | 0:00:06 | |
Everybody likes a winner, but success isn't a one-man show. | 0:00:07 | 0:00:13 | |
Order, order! | 0:00:13 | 0:00:15 | |
Behind every star is a team - | 0:00:15 | 0:00:18 | |
immensely talented, powerful in their own worlds, | 0:00:18 | 0:00:21 | |
invisible to us until now. | 0:00:21 | 0:00:24 | |
These are the stories of the stars | 0:00:28 | 0:00:30 | |
and the teams who strive to make them shine. | 0:00:30 | 0:00:34 | |
This is the world of the VIP People. | 0:00:34 | 0:00:37 | |
Have you ever wondered what it takes to make a TV comedy? | 0:00:41 | 0:00:45 | |
Well, you're about to find out! | 0:00:45 | 0:00:47 | |
We're about to take you behind the scenes with actress Dani Harmer | 0:00:47 | 0:00:50 | |
and the producers who brought you Tracy Beaker and Dani's House. | 0:00:50 | 0:00:55 | |
Dani will be working with her VIP People over the next eight weeks | 0:00:55 | 0:00:58 | |
to make a big hit of her new series, Dani's Castle. | 0:00:58 | 0:01:02 | |
She will work with the director who calls the shots, | 0:01:02 | 0:01:05 | |
she'll be made up for the cameras by the make-up designer, | 0:01:05 | 0:01:08 | |
throw some punches with the fight arranger | 0:01:08 | 0:01:11 | |
while the gaffer and the art department | 0:01:11 | 0:01:13 | |
get the set ready for filming. | 0:01:13 | 0:01:16 | |
Dani's agent will be on the case searching for her next role | 0:01:16 | 0:01:19 | |
and if it all comes together, Dani will spread her wings and fly | 0:01:19 | 0:01:23 | |
to the next challenge in her busy acting career. | 0:01:23 | 0:01:26 | |
With only a few days to go before filming starts, | 0:01:28 | 0:01:32 | |
Dani arrives in Northern Ireland to shoot her brand new series, | 0:01:32 | 0:01:35 | |
Dani's Castle. | 0:01:35 | 0:01:37 | |
I've just landed in Belfast City Airport. | 0:01:37 | 0:01:39 | |
Had a lovely flight but I did have to get up at five o'clock | 0:01:39 | 0:01:42 | |
so as soon as I sat down in my seat, I fell asleep | 0:01:42 | 0:01:44 | |
and didn't wake up until we landed, | 0:01:44 | 0:01:46 | |
and I was definitely meant to be reading scripts | 0:01:46 | 0:01:48 | |
so that's probably not good, but I had a nice sleep. | 0:01:48 | 0:01:51 | |
Dani will have to hit the ground running! | 0:01:51 | 0:01:53 | |
Not only has she not read the script | 0:01:53 | 0:01:55 | |
but she has yet to meet her fellow cast members! | 0:01:55 | 0:01:58 | |
I'm feeling really excited but I'm actually a little bit nervous | 0:01:58 | 0:02:01 | |
because I don't know the cast yet. | 0:02:01 | 0:02:04 | |
Luckily, I will see some familiar faces today | 0:02:04 | 0:02:08 | |
so hopefully I'll be a bit more relaxed later on. | 0:02:08 | 0:02:11 | |
In her new comedy series, Dani leaves her house | 0:02:11 | 0:02:14 | |
and heads to Northern Ireland when she inherits her very own castle. | 0:02:14 | 0:02:18 | |
Problem is she's got to share the place with her cousin | 0:02:18 | 0:02:20 | |
and a couple of other spooky inhabitants. | 0:02:20 | 0:02:24 | |
Dani arrives at the beautiful castle near Belfast | 0:02:24 | 0:02:27 | |
in the picturesque town of Killyleagh. | 0:02:27 | 0:02:29 | |
Dani and the entire crew will spend almost every waking minute | 0:02:29 | 0:02:33 | |
of their lives in this castle for the next eight weeks. | 0:02:33 | 0:02:37 | |
I am flicking through the scripts because I fell asleep on the plane. | 0:02:37 | 0:02:41 | |
We are all gathered because we are waiting to do the read through. | 0:02:41 | 0:02:44 | |
We're just waiting for Declan. | 0:02:44 | 0:02:46 | |
This is my castle. It's great. Have you seen it yet? | 0:02:46 | 0:02:49 | |
It's pretty cool. | 0:02:49 | 0:02:51 | |
Today, director Dez McCarthy | 0:02:51 | 0:02:54 | |
is giving the cast a tour of the castle and sets. | 0:02:54 | 0:02:58 | |
What we're doing is showing everyone the areas we're going to film in. | 0:02:58 | 0:03:02 | |
Dez's first job as director is to be sure | 0:03:02 | 0:03:04 | |
that everyone in the cast and crew knows exactly what's going on. | 0:03:04 | 0:03:08 | |
At the moment, Dez is taking us through | 0:03:08 | 0:03:12 | |
all the different sets we've got going on. | 0:03:12 | 0:03:14 | |
As you can see, it's absolutely fantastic. | 0:03:14 | 0:03:16 | |
Dez is the man in charge of the shoot, | 0:03:16 | 0:03:19 | |
and he's the first of our VIP People. | 0:03:19 | 0:03:22 | |
As the director of the series, he's the man with the vision. | 0:03:23 | 0:03:26 | |
He's got loads of TV experience and his skills are vital | 0:03:26 | 0:03:31 | |
as he works with the rest of the cast and the crew, | 0:03:31 | 0:03:33 | |
including the gaffer, make-up and the art department | 0:03:33 | 0:03:36 | |
to bring Dani's Castle to life. | 0:03:36 | 0:03:39 | |
He and Dani have worked together many times over the years | 0:03:39 | 0:03:42 | |
and without him, there would be no show. | 0:03:42 | 0:03:47 | |
The first series of Dani's House is when we first met. | 0:03:47 | 0:03:50 | |
Here we are now in Ireland and we've got a castle, | 0:03:50 | 0:03:52 | |
so we're going up in the world. | 0:03:52 | 0:03:54 | |
I've finally brought them back to my country. | 0:03:54 | 0:03:56 | |
Just move this chair around, then we can have a go at this. | 0:03:56 | 0:03:59 | |
My job as director is to imagine how the whole thing's going to look. | 0:03:59 | 0:04:03 | |
If you're reading a book, I'm sure you can imagine what you're reading. | 0:04:03 | 0:04:07 | |
No matter what the book is, you can visualise the scene. | 0:04:07 | 0:04:10 | |
If the book says, "He walks down the stairs and lifts something up," | 0:04:10 | 0:04:13 | |
You can see that in your head. | 0:04:13 | 0:04:15 | |
We all visualise that. | 0:04:15 | 0:04:16 | |
Therefore that is what I do. Get a script and I'm going to shoot it. | 0:04:16 | 0:04:20 | |
I'm responsible for getting a performance out of the actors. | 0:04:20 | 0:04:23 | |
The actors need to practise what they're doing | 0:04:23 | 0:04:25 | |
before Dez even allows a camera in the room. | 0:04:25 | 0:04:28 | |
This is a major part of Dez's job, | 0:04:32 | 0:04:34 | |
but what are the most important qualities a good director needs to succeed? | 0:04:34 | 0:04:39 | |
You have to be a very good man manager. | 0:04:39 | 0:04:42 | |
You have to be very firm. | 0:04:42 | 0:04:45 | |
You have to be very dedicated. | 0:04:45 | 0:04:47 | |
You have to be a bit stubborn. It does help to be stubborn | 0:04:47 | 0:04:51 | |
because you're pushing people all the time. | 0:04:51 | 0:04:53 | |
You have to be full of enthusiasm and energy | 0:04:53 | 0:04:57 | |
and no self-doubt. You just have the confidence. | 0:04:57 | 0:04:59 | |
Confidence is everything if you're a director. | 0:04:59 | 0:05:02 | |
Ping, ping. Laugh and laugh and laugh. | 0:05:02 | 0:05:05 | |
See that's called proper acting. | 0:05:08 | 0:05:09 | |
The natural ability of the laughter was perfect. | 0:05:09 | 0:05:12 | |
While I've got a little break, I thought I'd be really nosy | 0:05:15 | 0:05:18 | |
and come into the make-up room. Sarah is doing Jordan's hair, | 0:05:18 | 0:05:22 | |
who plays Esme who's a ghost. | 0:05:22 | 0:05:24 | |
SHE SCREAMS | 0:05:24 | 0:05:26 | |
Just curious to see how she's going to do it. | 0:05:26 | 0:05:29 | |
Along with her starring role, there's no downtime for Dani. | 0:05:29 | 0:05:32 | |
She is busy with added responsibilities behind the scenes. | 0:05:32 | 0:05:36 | |
Being in my associate producer role, I just like saying it, | 0:05:36 | 0:05:40 | |
it's been cool. I always had an input, especially in Dani's House, | 0:05:40 | 0:05:45 | |
but it's just nice to be able to express my opinions | 0:05:45 | 0:05:51 | |
and people actually listen, which is quite nice. | 0:05:51 | 0:05:54 | |
The opportunity to have more input about what goes on in the show | 0:05:54 | 0:05:57 | |
as associate producer is giving Dani the training | 0:05:57 | 0:06:01 | |
to maybe someday becoming a fully-fledged producer. | 0:06:01 | 0:06:05 | |
I've learnt loads already and it's only about the second day, | 0:06:05 | 0:06:08 | |
so well chuffed. | 0:06:08 | 0:06:09 | |
Let's go and rehearse. | 0:06:09 | 0:06:11 | |
-Are you not cold? -No. -Are you going to be in shorts the whole time? | 0:06:11 | 0:06:16 | |
You're Irish, you're used to it! | 0:06:16 | 0:06:20 | |
It's time for the cast to assemble inside for rehearsal | 0:06:20 | 0:06:23 | |
with director Dez. | 0:06:23 | 0:06:25 | |
Rest of the day is basically one-to-ones with the cast, | 0:06:25 | 0:06:29 | |
running through their character. Running through the opening scenes, | 0:06:29 | 0:06:33 | |
how we're going to be shooting them, playing them. | 0:06:33 | 0:06:35 | |
Trying to make them feel relaxed so on the day, they walk on set | 0:06:35 | 0:06:39 | |
and everything goes very smoothly. | 0:06:39 | 0:06:41 | |
Guys, just do a wee line reading of the scene, | 0:06:41 | 0:06:43 | |
then we'll do a wee blocking. | 0:06:43 | 0:06:45 | |
The simplest scene in the world to start off with. | 0:06:45 | 0:06:48 | |
Dez and the cast set about blocking scenes on each set. | 0:06:48 | 0:06:52 | |
Blocking is where you stage it so Dez will tell us | 0:06:52 | 0:06:55 | |
where he wants us to stand and what props he wants to use. | 0:06:55 | 0:06:58 | |
It's much better to rehearse the scene and move the actors around. | 0:06:58 | 0:07:02 | |
You get a lot more into it and it becomes fun. | 0:07:02 | 0:07:05 | |
It should always be fun. | 0:07:05 | 0:07:06 | |
-In your face. -In your face, actually. | 0:07:06 | 0:07:09 | |
I think it definitely helps seeing all the sets. | 0:07:09 | 0:07:12 | |
How you're going to work in them because the first time we came in | 0:07:12 | 0:07:16 | |
there was nothing so it's hard to picture where things are going to be. | 0:07:16 | 0:07:19 | |
Now that we've got all these things it's great | 0:07:19 | 0:07:23 | |
so we know where we can move about, we know what we can pick up. | 0:07:23 | 0:07:26 | |
It definitely makes our job easier, less stressful. | 0:07:26 | 0:07:30 | |
You vanish into thin air. Does that make sense? | 0:07:30 | 0:07:33 | |
Dez has a lot to worry about on set, | 0:07:33 | 0:07:35 | |
and he has his very own supporting cast | 0:07:35 | 0:07:38 | |
in the form of all three of his assistant directors, | 0:07:38 | 0:07:41 | |
or ADs as they're known in the biz. | 0:07:41 | 0:07:44 | |
Darren, the first AD, | 0:07:44 | 0:07:45 | |
is the lucky one who gets to shout everyone's favourite word! | 0:07:45 | 0:07:49 | |
Action! | 0:07:49 | 0:07:50 | |
But what exactly does a first AD do? | 0:07:50 | 0:07:52 | |
I'm responsible for scheduling the programme and ensuring that | 0:07:52 | 0:07:56 | |
whatever we schedule gets shot on time, hopefully, | 0:07:56 | 0:07:59 | |
so we stay within schedule and within budget | 0:07:59 | 0:08:02 | |
and also ensuring the flow runs as efficiently as possible | 0:08:02 | 0:08:05 | |
and the correct information's passed to the right people at the right time to ensure | 0:08:05 | 0:08:10 | |
a smooth workflow. If all that happens, | 0:08:10 | 0:08:12 | |
hopefully we wrap our days on time, and if it doesn't, we don't. | 0:08:12 | 0:08:16 | |
Helping the first AD is third AD Graham | 0:08:16 | 0:08:19 | |
who's constantly on his feet. | 0:08:19 | 0:08:20 | |
We are used as the technical management team of the set | 0:08:20 | 0:08:24 | |
so the first will control everything that happens | 0:08:24 | 0:08:26 | |
between the camera team, sound team. Getting the actors in place, | 0:08:26 | 0:08:29 | |
calling action, calling cut. | 0:08:29 | 0:08:32 | |
It's my job to back him up so anything he needs done, | 0:08:32 | 0:08:34 | |
I'm there to do. Also coffee runs and tea runs and stuff. | 0:08:34 | 0:08:38 | |
Make-up, you still happy? | 0:08:38 | 0:08:40 | |
Graham has put in lots of time finding the right job | 0:08:42 | 0:08:45 | |
to fit his skills and his interests. | 0:08:45 | 0:08:47 | |
For me, I started as an extra. I signed up with an extras agency | 0:08:47 | 0:08:50 | |
and just got little bits of random work on different TV shows. | 0:08:50 | 0:08:54 | |
Met the right people, started talking, asking questions. | 0:08:54 | 0:08:57 | |
Got to know what they did, found out which departments I actually liked, | 0:08:57 | 0:09:00 | |
and it went between camera, special effects, sound, editing, | 0:09:00 | 0:09:03 | |
all those things and I finally ended on AD work on Game Of Thrones | 0:09:03 | 0:09:07 | |
which has a big production in Northern Ireland. Through that, | 0:09:07 | 0:09:11 | |
just by pure chance I found some work, and I've loved it ever since. | 0:09:11 | 0:09:14 | |
Stephen, the final member of Dez's crew, | 0:09:14 | 0:09:17 | |
is the second assistant director. | 0:09:17 | 0:09:19 | |
This is top secret information. | 0:09:19 | 0:09:21 | |
This is everything you possibly need to know | 0:09:21 | 0:09:24 | |
about Dani's Castle in this one file. | 0:09:24 | 0:09:26 | |
My job entails organising the schedule | 0:09:26 | 0:09:28 | |
for cast members. | 0:09:28 | 0:09:29 | |
That's the actors. Taking them to and from make-up and costume | 0:09:29 | 0:09:34 | |
throughout the shooting dates | 0:09:34 | 0:09:35 | |
and basically looking after their welfare, | 0:09:35 | 0:09:38 | |
making sure all the actors are very happy and satisfied. | 0:09:38 | 0:09:41 | |
We're taking our two ghost characters | 0:09:41 | 0:09:43 | |
up to meet our costume designer. | 0:09:43 | 0:09:45 | |
They're going to try on their costumes | 0:09:45 | 0:09:47 | |
and see if it all fits and it all looks good on camera. | 0:09:47 | 0:09:50 | |
OK, guys, we're going to go in this door, please. | 0:09:50 | 0:09:53 | |
Jordan, who plays Esme, | 0:09:56 | 0:09:57 | |
one of the ghosts who lives in Dani's Castle, | 0:09:57 | 0:10:00 | |
is trying her costume for the first time. | 0:10:00 | 0:10:03 | |
Look what they made for me. | 0:10:03 | 0:10:06 | |
Is that the coolest costume you've ever worn? | 0:10:06 | 0:10:11 | |
Maryanne, the costume designer, has made the dress by hand | 0:10:13 | 0:10:17 | |
with loads of gorgeous detail to make it look ghostly! | 0:10:17 | 0:10:21 | |
He got me a costume and I want to try absolutely everything. | 0:10:21 | 0:10:26 | |
These outfits are all the rage in ghost fashion this season. | 0:10:26 | 0:10:29 | |
Does my bum look big in this? | 0:10:29 | 0:10:32 | |
Niall, who's playing Esme's older brother Gabe, | 0:10:32 | 0:10:36 | |
finds donning the costume helps put the finishing touches | 0:10:36 | 0:10:39 | |
to becoming his ghostly character. | 0:10:39 | 0:10:41 | |
When you get the costume on, that's when you finally realise. | 0:10:41 | 0:10:45 | |
You come alive, your character. Your character comes alive. | 0:10:45 | 0:10:47 | |
Definitely, the costume makes it. | 0:10:47 | 0:10:50 | |
I can't wait to get going in this costume. | 0:10:50 | 0:10:54 | |
The characters' looks aren't finished yet. | 0:10:54 | 0:10:57 | |
It's time to get into make-up. | 0:10:57 | 0:11:00 | |
Today, we're doing all the test make-up on all the main characters, | 0:11:00 | 0:11:03 | |
and establishing their looks for the series. | 0:11:03 | 0:11:06 | |
As make-up designer, | 0:11:06 | 0:11:08 | |
Sarah is one of Dani's key VIP People. | 0:11:08 | 0:11:11 | |
Using make-up wizardry, it's her job to transform every actor, | 0:11:11 | 0:11:16 | |
including Dani, into the characters you see on the TV screen. | 0:11:16 | 0:11:20 | |
Dani's make-up is very interesting because for this, | 0:11:20 | 0:11:24 | |
they definitely wanted to have a step up style-wise. | 0:11:24 | 0:11:29 | |
She's to look more grown-up, capable-looking, | 0:11:29 | 0:11:34 | |
and just a bit more mature. | 0:11:34 | 0:11:36 | |
Getting made up takes time, | 0:11:36 | 0:11:38 | |
so the make-up room serves as a good place for the production team | 0:11:38 | 0:11:41 | |
to get together and make important decisions. | 0:11:41 | 0:11:44 | |
Hello. | 0:11:44 | 0:11:46 | |
Sarah's requested a meeting | 0:11:46 | 0:11:48 | |
to discuss a few of the characters' looks | 0:11:48 | 0:11:50 | |
with series executive producer Elaine and director Dez. | 0:11:50 | 0:11:54 | |
What I was really concerned about | 0:11:54 | 0:11:56 | |
was all speaking about the Gabe character. | 0:11:56 | 0:12:00 | |
Oh, right, OK. | 0:12:00 | 0:12:01 | |
Just make him look really attractive. | 0:12:01 | 0:12:04 | |
-Intangible where you can get a hand through. -Justin Bieber. | 0:12:04 | 0:12:08 | |
As executive producer, Elaine has a lot of input | 0:12:08 | 0:12:11 | |
into how the show looks and runs. | 0:12:11 | 0:12:14 | |
I don't think a modern girl would particularly fancy him, | 0:12:14 | 0:12:17 | |
whereas if he had longer, softer Johnny Depp-ish hair, | 0:12:17 | 0:12:22 | |
she might fancy him much more. | 0:12:22 | 0:12:24 | |
Elaine has known and worked with Dani for a long time! | 0:12:24 | 0:12:28 | |
I met Dani when she came in to audition for Tracy Beaker. | 0:12:28 | 0:12:30 | |
She was one of five or six finalists. | 0:12:30 | 0:12:35 | |
The minute she walked in, we knew she was the part. | 0:12:35 | 0:12:38 | |
we couldn't do better. | 0:12:38 | 0:12:42 | |
I've had my face done, which can only mean one thing. | 0:12:42 | 0:12:45 | |
I have to go to costume now, put my clothes on | 0:12:45 | 0:12:47 | |
and be Danified. I'm very excited. Here I go. | 0:12:47 | 0:12:51 | |
A visit to wardrobe can be a bit of an adventure. | 0:12:51 | 0:12:54 | |
Morning! | 0:12:54 | 0:12:57 | |
I am just having a costume fitting for a ballroom scene. | 0:12:57 | 0:13:02 | |
I don't know whether this dress might give that away slightly. | 0:13:02 | 0:13:05 | |
It's really, really heavy and uncomfortable. | 0:13:05 | 0:13:09 | |
We're just trying to figure out logistics of moving. | 0:13:09 | 0:13:14 | |
I've got a lot of running around to do after a pig in this dress. | 0:13:14 | 0:13:18 | |
Only on Dani's Castle can this happen. | 0:13:18 | 0:13:20 | |
Looking good, Dani, but time is marching on, | 0:13:20 | 0:13:24 | |
and the cast are rolling with the punches. | 0:13:24 | 0:13:26 | |
One of the VIP People showing the cast punches without the pain | 0:13:26 | 0:13:30 | |
is Carter, the fight arranger. | 0:13:30 | 0:13:33 | |
Carter has fought his way on to lots of productions, | 0:13:33 | 0:13:36 | |
including ones starring Dani. | 0:13:36 | 0:13:39 | |
It's his job to teach all the cast members stage combat techniques | 0:13:39 | 0:13:42 | |
and to help Dez the director and his camera crew | 0:13:42 | 0:13:45 | |
film scenes safely in which characters have to fight or fall. | 0:13:45 | 0:13:48 | |
The fight arranger will come into a television programme | 0:13:48 | 0:13:51 | |
or a film or a theatre show and look at staging violence safely. | 0:13:51 | 0:13:57 | |
You're going to aim short, you're going to aim past here | 0:13:57 | 0:14:00 | |
and just like that. A little bit higher for me. | 0:14:00 | 0:14:03 | |
He'll make sure we all know what we're doing and we feel comfortable | 0:14:05 | 0:14:08 | |
and that we don't hurt ourselves, | 0:14:08 | 0:14:09 | |
because that's the last thing we want. | 0:14:09 | 0:14:11 | |
One of the things I was doing there | 0:14:11 | 0:14:13 | |
was teaching them how to punch for camera as well. | 0:14:13 | 0:14:16 | |
Camera on the hook can be all the way around here. | 0:14:16 | 0:14:19 | |
Look at it anywhere here. | 0:14:19 | 0:14:20 | |
With an uppercut, the camera's really got to be here | 0:14:20 | 0:14:23 | |
because the further you go off, the more air you can see. | 0:14:23 | 0:14:26 | |
You ready? | 0:14:26 | 0:14:28 | |
And that can sell. | 0:14:28 | 0:14:30 | |
We showed them to make a nap sound. | 0:14:30 | 0:14:32 | |
-Try a nap on your leg. -On my leg? -Try it. | 0:14:32 | 0:14:37 | |
A nap being when you fake a hit sound with your hand or your body. | 0:14:37 | 0:14:41 | |
Sorry, just hit your mic. | 0:14:41 | 0:14:42 | |
Don't punch each other in the face. See how that works. | 0:14:42 | 0:14:46 | |
It's only in showbiz that there could be any practical use | 0:14:49 | 0:14:52 | |
of such unusual skills! | 0:14:52 | 0:14:54 | |
I'm just off a horror film where I was mostly killing zombies. | 0:14:54 | 0:14:58 | |
I killed 63, in fact. | 0:14:58 | 0:14:59 | |
Can you kill a zombie? I'm not sure but you know what I mean. | 0:14:59 | 0:15:03 | |
That's a whole different show, Carter! | 0:15:03 | 0:15:06 | |
So that's the show rehearsed with director Dez, | 0:15:06 | 0:15:09 | |
the cast have learned to safely hit each other | 0:15:09 | 0:15:11 | |
under Carter's supervision, Sarah's make-up and the characters' costumes | 0:15:11 | 0:15:16 | |
have been perfected, but the crew isn't ready to roll camera just yet. | 0:15:16 | 0:15:22 | |
Still to come, it's a battle to get the sets finished on time. | 0:15:22 | 0:15:25 | |
-And Dani's agent's got some good news. -# Come dancing! # | 0:15:25 | 0:15:29 | |
Before cameras can roll, Dez and the cast have to vacate the castle | 0:15:29 | 0:15:32 | |
so the sets can be readied and completed | 0:15:32 | 0:15:35 | |
for filming day number one. | 0:15:35 | 0:15:37 | |
We've got three days until we start shooting. | 0:15:37 | 0:15:40 | |
I kind of think we're almost there, actually. | 0:15:40 | 0:15:42 | |
Looking around some of the rooms of the castle is a little bit scary | 0:15:42 | 0:15:46 | |
because they're not quite finished yet. | 0:15:46 | 0:15:49 | |
The next VIP People are the Dani's Castle art department. | 0:15:49 | 0:15:54 | |
Jason, Nigel and Mike are the art department | 0:15:54 | 0:15:56 | |
who work closely with Dez the director. | 0:15:56 | 0:15:58 | |
They hire, borrow or make every thing on set. | 0:15:58 | 0:16:01 | |
Jason is the man in charge of the overall look of the castle. | 0:16:01 | 0:16:05 | |
Production design is basically realising the space | 0:16:05 | 0:16:09 | |
that the story exists in, | 0:16:09 | 0:16:11 | |
so with Dani's Castle it would be creating the environment | 0:16:11 | 0:16:16 | |
that Dani and the characters live in. | 0:16:16 | 0:16:20 | |
Today I started work at six. | 0:16:20 | 0:16:22 | |
It's now 7.20 in the evening. | 0:16:22 | 0:16:28 | |
I most likely won't finish until 8.30, nine tonight. | 0:16:28 | 0:16:34 | |
Right at this moment, it's a bit tense but were getting through it. | 0:16:34 | 0:16:39 | |
Time is ticking away, and the art department will spend the weekend | 0:16:39 | 0:16:43 | |
making the finishing touches. | 0:16:43 | 0:16:45 | |
There's a lot of finishing off. | 0:16:45 | 0:16:46 | |
There's a lot of things that are partway through tasks | 0:16:46 | 0:16:49 | |
that need finishing. The dressing, | 0:16:49 | 0:16:52 | |
there's putting lumps of stuff into spaces. Lots of that. | 0:16:52 | 0:16:57 | |
The man responsible for making some of those "lumps of stuff" | 0:16:57 | 0:17:00 | |
is prop-maker Mike who is working on a rather unusual prop. | 0:17:00 | 0:17:05 | |
I need to make a laptop for a ghost. That's what I've been asked to do. | 0:17:05 | 0:17:10 | |
Cos it's for a ghost, it needs to look old. | 0:17:10 | 0:17:13 | |
I believe 250 years old. | 0:17:13 | 0:17:15 | |
We've had to hide it in a box to cover the outside of it. | 0:17:15 | 0:17:17 | |
We're going to cover the outside in clockwork just to give it | 0:17:17 | 0:17:20 | |
an old treasury kind of feel, I guess. | 0:17:20 | 0:17:24 | |
On the inside, we'll open up, we're going to cover the keyboard | 0:17:24 | 0:17:27 | |
and make it look like old scrolls, old parchments. | 0:17:27 | 0:17:29 | |
It will still function as a fully working laptop | 0:17:29 | 0:17:33 | |
but it'll look like it's from the past. | 0:17:33 | 0:17:36 | |
To be a prop-maker, you need to be able to think on your feet, | 0:17:38 | 0:17:42 | |
problem solve and find out where they hide the biscuits at teatime. | 0:17:42 | 0:17:46 | |
That's the key one there. | 0:17:46 | 0:17:49 | |
With the beginning of the shoot looming, | 0:17:49 | 0:17:51 | |
what's the worst that could happen? | 0:17:51 | 0:17:53 | |
The first week, on the very first day of Dani's House, | 0:17:53 | 0:17:56 | |
one of the leading actors came down with appendicitis. | 0:17:56 | 0:17:59 | |
That's pretty hard to beat that for a worst day, worst first week, | 0:17:59 | 0:18:03 | |
so I really hope that nothing even remotely that bad happens. | 0:18:03 | 0:18:07 | |
We're working with a fantastic bunch of people | 0:18:07 | 0:18:10 | |
so nothing will go wrong and it will be perfect, | 0:18:10 | 0:18:13 | |
and if something does go wrong, we deal with it. | 0:18:13 | 0:18:15 | |
What we're trying to do now is deal with everything we know about, | 0:18:15 | 0:18:18 | |
so we'll be ready for the things we don't know about. | 0:18:18 | 0:18:20 | |
Dampening everyone's expectations is the changeable weather. | 0:18:20 | 0:18:24 | |
I can't open it! | 0:18:24 | 0:18:26 | |
Electricity and water are never a good combination | 0:18:26 | 0:18:29 | |
and on this production there's a lot of both. | 0:18:29 | 0:18:32 | |
These go really well when the weather's brilliant. | 0:18:32 | 0:18:35 | |
As soon as it starts raining, not only have you got the problem | 0:18:35 | 0:18:38 | |
of trying to do what you're doing, you've then got the problem | 0:18:38 | 0:18:42 | |
of trying to keep the rain out of everything electrical. | 0:18:42 | 0:18:45 | |
Amongst our VIP People is Hayden the Gaffer, | 0:18:45 | 0:18:47 | |
or head of lighting. | 0:18:47 | 0:18:50 | |
Hayden works closely with the cameraman and Dez | 0:18:50 | 0:18:54 | |
to arrange and position the lights throughout the castle, | 0:18:54 | 0:18:57 | |
so he's a busy boy. | 0:18:57 | 0:18:59 | |
Our busy period is literally between the filming. | 0:18:59 | 0:19:02 | |
Take this up to the library set. | 0:19:02 | 0:19:05 | |
Our days are sprinkled with these high bursts of energy | 0:19:05 | 0:19:08 | |
and then other periods when the cameras are rolling, | 0:19:08 | 0:19:10 | |
we're just sitting around doing nothing. | 0:19:10 | 0:19:12 | |
We're thinking about what's coming up ahead. | 0:19:12 | 0:19:15 | |
If you look up here, we can't fire this up | 0:19:15 | 0:19:18 | |
because of the pouring rain at the moment. | 0:19:18 | 0:19:20 | |
You're always beholden to the weather | 0:19:20 | 0:19:21 | |
and we have to wait an hour until it clears before we can start | 0:19:21 | 0:19:24 | |
so it has a knock-on effect that we'll be working over the weekend, | 0:19:24 | 0:19:27 | |
probably until late Sunday night and then we shoot first thing Monday morning. | 0:19:27 | 0:19:31 | |
Beneath this calm exterior, someone's having kittens | 0:19:31 | 0:19:34 | |
but were not saving lives here, just having a bit of fun | 0:19:34 | 0:19:37 | |
and we love doing what we do, so I love it. | 0:19:37 | 0:19:40 | |
I love being out in the rain, secretly. | 0:19:40 | 0:19:42 | |
Doing what I do is a skill and it's a trade. | 0:19:42 | 0:19:45 | |
In my instance, I trained as an electrician | 0:19:45 | 0:19:47 | |
but I also went to college as well. | 0:19:47 | 0:19:49 | |
I got a bit more information about what it is the other departments do, | 0:19:49 | 0:19:53 | |
the creative side. | 0:19:53 | 0:19:55 | |
Not all of our VIP People are on set being creative. | 0:19:56 | 0:19:59 | |
Dani's in Kent to meet with her agent. | 0:19:59 | 0:20:03 | |
Hello, darling! | 0:20:03 | 0:20:05 | |
-I'm good, how are you? -Very well, thank you. | 0:20:05 | 0:20:07 | |
-How are rehearsals going? -Really, really good, thank you. | 0:20:07 | 0:20:10 | |
Stuart Piper is Dani's agent and one of Dani's vital VIP People. | 0:20:10 | 0:20:16 | |
Stuart needs to be looking ahead for Dani, | 0:20:16 | 0:20:19 | |
reading scripts and finding opportunities | 0:20:19 | 0:20:21 | |
she hasn't got the time to look for, | 0:20:21 | 0:20:23 | |
while she focuses on her current acting jobs. | 0:20:23 | 0:20:26 | |
Dani needs Stuart to advise her | 0:20:26 | 0:20:30 | |
and make sure she's always got a job to go to. | 0:20:30 | 0:20:32 | |
Morning. | 0:20:32 | 0:20:34 | |
Our work involves suggesting clients for projects | 0:20:34 | 0:20:38 | |
and then dealing with problems that may arise | 0:20:38 | 0:20:41 | |
when they're working on those projects. | 0:20:41 | 0:20:44 | |
Generally, we're just here for whatever the actor needs. | 0:20:44 | 0:20:48 | |
Stuart has experienced first-hand how challenging it is to be a working actor. | 0:20:48 | 0:20:52 | |
I came as a performer and I acted as a child, | 0:20:52 | 0:20:55 | |
first of all as a child on CBBC and then film and TV, | 0:20:55 | 0:20:59 | |
and then when I became an adult, | 0:20:59 | 0:21:01 | |
I decided to change course and I became an agent. | 0:21:01 | 0:21:05 | |
Dani is someone who's been a star of children's television | 0:21:05 | 0:21:09 | |
for a very long time and she grew up on screen | 0:21:09 | 0:21:14 | |
which is amazing and it's probably why her audience love her so much. | 0:21:14 | 0:21:18 | |
They grew up with her. The only thing is | 0:21:18 | 0:21:21 | |
a lot of those people who grew up with her still think of her | 0:21:21 | 0:21:23 | |
as that child. What we're doing at the moment is establishing her | 0:21:23 | 0:21:27 | |
as an adult actress. | 0:21:27 | 0:21:29 | |
It's so different to anything you've done before. | 0:21:29 | 0:21:32 | |
It's just it'd be really good for me just to play other characters | 0:21:32 | 0:21:36 | |
and something a bit more grown-up. | 0:21:36 | 0:21:38 | |
You know what I mean, just spread my wings and fly. | 0:21:38 | 0:21:41 | |
-Lovely to see you. -And you. | 0:21:41 | 0:21:42 | |
Dani's diary seems well looked after but back to the job in hand! | 0:21:42 | 0:21:48 | |
It's Monday, the first day of filming, | 0:21:49 | 0:21:53 | |
and the weather is not very Irish. The sun is out | 0:21:53 | 0:21:56 | |
and all is calm at the castle...for now! | 0:21:56 | 0:21:58 | |
This is where Hayden is going to be living during the shoot. | 0:21:58 | 0:22:02 | |
He seems to have built himself a little tent there. | 0:22:02 | 0:22:05 | |
That campervan, I've had her 13 years now, | 0:22:05 | 0:22:07 | |
and she's still going strong | 0:22:07 | 0:22:09 | |
so she's my little companion, if you like. | 0:22:09 | 0:22:11 | |
She makes me feel safe and at home. Not only have I not filmed | 0:22:11 | 0:22:15 | |
in a place like this before but I'm staying in it. | 0:22:15 | 0:22:18 | |
I get to watch the sunsets, I get to look at the beauty of the castle. | 0:22:18 | 0:22:22 | |
It reminds you why you're doing the job | 0:22:22 | 0:22:27 | |
other than just physically doing it. | 0:22:27 | 0:22:29 | |
You get a chance to actually enjoy the environment you're in. | 0:22:29 | 0:22:33 | |
Such a lovely, sunny day to start filming, | 0:22:33 | 0:22:36 | |
surely it must be a good omen for the production. | 0:22:36 | 0:22:39 | |
Everyone is on hand. Dez is with his camera crew, | 0:22:39 | 0:22:42 | |
Sarah has make-up ready, | 0:22:42 | 0:22:44 | |
ADs, producers, Dani and cast are all waiting to go back to work. | 0:22:44 | 0:22:50 | |
But apparently the weather's a little too good. | 0:22:50 | 0:22:53 | |
The sunshine here's killing us. | 0:22:53 | 0:22:55 | |
We're not going to be able to shoot for continuity reasons. | 0:22:55 | 0:22:57 | |
Work will be picked up on another day. | 0:22:57 | 0:22:59 | |
Let's go as quick as we can, please. | 0:22:59 | 0:23:02 | |
Because scenes are filmed out of sequence, | 0:23:02 | 0:23:04 | |
you can't have one shot in a scene in direct sunlight | 0:23:04 | 0:23:07 | |
and the next shot in cloud cover because it would just look weird! | 0:23:07 | 0:23:11 | |
So, its First AD Darren's job to get the crew moving inside | 0:23:11 | 0:23:14 | |
to set up for the next scene in today's schedule, and fast! | 0:23:14 | 0:23:19 | |
The opening scenes of the show will have to be filmed another day. | 0:23:19 | 0:23:23 | |
Instead, they'll move on to scenes that they can shoot indoors, | 0:23:23 | 0:23:27 | |
away from the sun. | 0:23:27 | 0:23:28 | |
When we change scenes because we have to unexpectedly, | 0:23:28 | 0:23:31 | |
it takes quite a while to get all the equipment from outside | 0:23:31 | 0:23:35 | |
back inside, but these guys move really fast | 0:23:35 | 0:23:37 | |
so it shouldn't be too much longer. | 0:23:37 | 0:23:39 | |
And action. | 0:23:41 | 0:23:43 | |
The cameras are rolling and our first scenes are in the can, | 0:23:43 | 0:23:47 | |
s they say in showbiz. | 0:23:47 | 0:23:48 | |
Prop-maker Mike is on set with his finished product! | 0:23:48 | 0:23:53 | |
His Ghost Book is about to make its first appearance on set. | 0:23:53 | 0:23:58 | |
Mike will find out if this delicate work of art | 0:23:58 | 0:24:00 | |
will stand up a gruelling day in front of the camera. | 0:24:00 | 0:24:03 | |
Jordan seems to like it! | 0:24:03 | 0:24:05 | |
It's well cool. | 0:24:05 | 0:24:08 | |
I'm on the Ghostly-Book. | 0:24:08 | 0:24:10 | |
In the world of Dani's Castle, Ghostly-Book | 0:24:10 | 0:24:14 | |
is the ghost world's equivalent of Facebook. | 0:24:14 | 0:24:16 | |
These are your friends, are they? | 0:24:16 | 0:24:18 | |
Evil, Knievel, extra evil. | 0:24:18 | 0:24:22 | |
Oh, a friend request! | 0:24:27 | 0:24:29 | |
Cut there, thank you. | 0:24:30 | 0:24:32 | |
It's survived its first day! | 0:24:32 | 0:24:34 | |
Still in one piece, it's all good. And it's working. | 0:24:34 | 0:24:38 | |
With the kinks worked out and everyone settled in, | 0:24:38 | 0:24:41 | |
it's full steam ahead for eight jam-packed weeks of filming. | 0:24:41 | 0:24:45 | |
Action! | 0:24:45 | 0:24:47 | |
Cut! | 0:24:51 | 0:24:52 | |
Absolutely fantastic day, I'm very tired. | 0:24:54 | 0:24:57 | |
Bye! | 0:25:05 | 0:25:07 | |
A good day of filming. | 0:25:13 | 0:25:16 | |
With the project nearing completion, | 0:25:16 | 0:25:18 | |
Stuart is on the case to see where Dani will be reporting to work next. | 0:25:18 | 0:25:23 | |
Dani, it's Stu calling. | 0:25:23 | 0:25:25 | |
We've had some really exciting news. | 0:25:25 | 0:25:28 | |
Dani found out yesterday. | 0:25:28 | 0:25:30 | |
She's been offered a place in this year's Strictly Come Dancing. | 0:25:30 | 0:25:36 | |
I have just found out that I'm going to be doing Strictly Come Dancing! | 0:25:36 | 0:25:40 | |
Which I'm very excited about because I've wanted to do it for years, | 0:25:40 | 0:25:44 | |
mainly to wear the pretty dresses and to do the wicked dance routines | 0:25:44 | 0:25:47 | |
and I'm so excited, I cannot wait. | 0:25:47 | 0:25:49 | |
It'll give the parts of the Strictly audience who don't know Dani as well | 0:25:49 | 0:25:53 | |
a chance to get to know her better. | 0:25:53 | 0:25:55 | |
I think that will improve her chances of getting bigger and better | 0:25:55 | 0:25:59 | |
screen work as an adult actress. | 0:25:59 | 0:26:01 | |
I do think it's a life and career-changing opportunity for her. | 0:26:01 | 0:26:05 | |
It's the final day of filming on Dani's Castle. | 0:26:05 | 0:26:09 | |
There's only one thing left to do! | 0:26:14 | 0:26:17 | |
Cut! | 0:26:17 | 0:26:18 | |
Well done, everybody, that's a wrap! | 0:26:18 | 0:26:20 | |
We've just finished the last scene of Dani's Castle. | 0:26:24 | 0:26:28 | |
It's been great, it's been hard, hard work, | 0:26:28 | 0:26:32 | |
but we've had a great time. | 0:26:32 | 0:26:34 | |
Lots of tears, lots of comedy, lots of humour, | 0:26:34 | 0:26:36 | |
lots of very wet weather in Ireland. | 0:26:36 | 0:26:38 | |
We've got a brilliant show. | 0:26:38 | 0:26:40 | |
The VIP People have done it. | 0:26:40 | 0:26:42 | |
They're packing up and going home for a well-deserved rest. | 0:26:42 | 0:26:47 | |
And Dani is away to the next chapter in her career. | 0:26:47 | 0:26:51 | |
Let's get out of the way so we're not in everyone's derigging way. | 0:26:51 | 0:26:54 | |
Helped by two months of hard work and the expertise of director Dez, | 0:26:54 | 0:27:00 | |
make-up artist Sarah, the art department, | 0:27:00 | 0:27:02 | |
Carter the fight arranger, gaffer Hayden, | 0:27:02 | 0:27:05 | |
and the entire cast, Dani has not only starred in the show | 0:27:05 | 0:27:09 | |
but has also succeeded in her additional role | 0:27:09 | 0:27:12 | |
as associate producer. | 0:27:12 | 0:27:15 | |
-Goodbye! -Bye! | 0:27:15 | 0:27:17 | |
Run, quick, run! | 0:27:17 | 0:27:20 | |
Subtitles by Red Bee Media Ltd | 0:27:24 | 0:27:27 |