Ad­lan­ders re­live their lo­ca­tion-shoot night­mares

Head­ing off on a lo­ca­tion shoot can sound glam­ourous but, as five cre­atives re­call, when faced with age­ing stunt­men, the weather, un­co­op­er­a­tive rap­pers, ran­dom hos­pi­tal­i­sa­tion and apartheid, the re­al­ity can be very dif­fer­ent

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“The ad did end up caus­ing a bit of a race storm with the Welsh”

Ashoot for Pot Noo­dle at Mother most sticks in the mind be­cause it went from po­etic beauty to a night­mare in the smash of a sink.

The scene was set down a coal mine, which had been closed decades be­fore – a poignant sym­bol of the death of a com­mu­nity, if you like. It was meant to be an emo­tional mo­ment be­cause the ac­tors were min­ers – the very same min­ers who now worked at the Pot Noo­dle fac­tory in Wales. We had it all planned. They would have tears of nos­tal­gia in their eyes as they took in­struc­tion from our A-list direc­tor, Stacy Wall, to “GET DOWN THAT MINE AND DIG FOR NOODLES”. It was go­ing to be beau­ti­ful. How­ever, there was a prob­lem. There was no Wall. Just be­fore the shoot, he had slipped in the shower, de­stroyed a hand basin with his head and wo­ken up in Leeds In­fir­mary. The crew was aim­less and rogue drink­ing ran amok among the cast. When he did even­tu­ally turn up, con­cussed and sport­ing Terry Butch­er­style blood­ied head­wear, Wall seemed con­fused. So con­fused that he must have thought he was on a dif­fer­ent shoot be­cause he re­fused to go un­der­ground, let alone shoot a ca­nary un­der­ground. And we all know that no mine is com­plete with­out a ca­nary.

Ul­ti­mately, though, it was a tri­umph over ad­ver­sity. The waft of noo­dle must have worked as smelling salts as we got Wall down the pit and got the shots – even if the ad did end up caus­ing a bit of a race storm with the Welsh.

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