As a morning show goes into the 5 minute countdown before their live recording, the producers, political guests, cast and crew try to make the most of a freshly uncovered scandal.
Winner of the Directors UK and Arri Trinity Challenge
Credits / Collaborators / Cast
Directed by Markus Meedt
Produced by Jamie Harvey
Written by Alex Gibbons and Gabriel Henrique Gonzalez
Executive Producers – Amy-Jo Bryant, Milan Krsljanin
Director of Photography – Mark Nutkins
Trinity Operator – Sebastien Joly
Gaffer – Hassaan Menk
1st AC – Darren Johnson
2nd AC – Sebastian Olivares
Camera Trainee – Jakub Rogala
Spark – Vojta Stanek
Production Manager – Phoebe Wood
First AD – Michael Roe
Production Design – Isabel Pirillo
Costume – Giulia Scrimieri
Make Up – Sarah Rowland
Sound – Michael Chubb
Floor PAs – Luis Garcia
Location Manager – Josh Wardle
Composer – Stephanie Taylor
Colourist – Sam Chynoweth
Colouring Facilities via Technicolor London
Location: IQ Studios
Starring: Amy Barnes, James Coombes, Rhona Croker, , Lily Doswell, Edward Hogg, Marek Larwood, Meaghan Martin, Varada Sethu
The story behind the film
Bad News came to light as a reaction to the chaotic mess that we all have come to know as Brexit/Covid/US Elections. Politicians suddenly seemed to be the media’s new favourite celebrities for the world to either love or hate.
When Theresa May stepped down from office, a little tear rolled down her face, and I couldn’t help but feel a little sorry for her. I forgot, amongst all of this, that these are just people trying their best to do a job that, for better or worse, won’t keep everyone happy.
We wanted to make a film that captures politicians and mass media workers as people who have more important things to worry about than saving the world: Marriage, career ambitions, workplace discrimination and even family life… There is no political agenda here. In fact, we wanted the audience to assume the political agenda of our characters (which fluctuates based on if they like or dislike these people).
I started my career in reality TV and later on in live broadcast television as a runner, and was absolutely fascinated in this world. The way journalists would be able to shift the information on the spot to give their broadcasts a popular agenda came as a shock to me. I realised then that journalism, in many cases, is based on collecting real live data to create a fictional narrative. It’s basically the equivalent to pro-wrestling. There is an actual skill to it, but that doesn’t make the fights real.
Combining these two revelations, I wanted to create a fast paced narrative with a vast cast of characters who all follow a different agenda, while seemingly playing for the same team. We decided to write the script with a one take film in mind, and started to look for locations that would make this possible. We wanted to trap the audience in the thrill of the rush of live television through the ever moving camera. We also chose this technique to give the performances a more grounded and spontaneous feel despite the exaggerated situation they find themselves in.
Due to budget and timing restrictions with the large cast, we dressed the location, rehearsed the shot and captured the whole film in a timeframe of 11 hours. There was a thrill and urgency by the entire cast and crew to absolutely nail each take, while also throwing in flourishes of improv. It was a delightful challenge and an exercise in teamwork unlike any I have experienced before.