Principle photography has begun on Gatecrash, an adaptation of the hard-hitting Edinburgh Fringe First award-winning play, “Life’s a Gatecrash” with Lawrence Gough in the director’s hot seat.
Director Lawrence Gough is now busy overseeing his new film Gatecrash, an adaptation of Edinburgh Fringe First award-winning play, Life’s A Gatecrash. The film version has been written for the screen by playwright Terry Hughes alongside Gough and Alan Pattison (who co-wrote Gough’s stylish 2009 thriller Salvage).
Gough has concentrated on TV since Salvage, working on episodes of Hollyoaks, Endeavour and Doctor Who, and so Gatecrash represents his follow-up feature film which produces Craig Conway and Kirsty Bell have high hopes for.
Bell and Conway said, jointly, working with Gough gives the talented director a chance to get his teeth into “a juicy project with the correct support network” around him. This film, they added, has “festival potential and strong-break out appeal at a sensible budget level” and “taps into our desire to mix experienced, well respected cast and crew such as Olivia [Bonamy], Samuel [West] and Anton [Lesser]” with “new, exciting filmmakers such as Lawrence”.
The film is the third to be produced by Bird Box Pictures’ in association with Goldfinch Entertainment following Shaun Robert Smith’s Broken in 2016 and this year’s Giantland, starring Hayley Squires, which is currently in post-production.
Gatecrash is a dark, twisted psychological thriller which follows Nicole (French-born Olivia Bonamy) and Steve (Ben Cura) as they discover themselves to be the protagonists of a terrible hit and run situation; with the evidence suggesting this was no accident. The film co-stars Samuel West as a menacing witness to the accident, and Anton Lesser (best known for TV’s Game of Thrones and film A United Kingdom) as their victim.
The film’s shoot takes place through mid-October, with an intense 22-day schedule at GSP Studios in York. The production will boast a 360-degree composite set at the studio facility, allowing performance and pace to be shot and captured in real-time takes of up to 30 minutes per act, across three acts, in order to capture the story’s theatrical rawness as well as its cinematic scope.
The producers added: “This film for us continues to prove our ability as independent filmmakers. Following on from Giant land, we have maintained our ethos of taking a brilliant, award-winning script and utilising all our connections to finance and produce this in an efficient, unique and visually stunning way.”