Travelling on trains during rainy weather can be a mixed blessing. The good side is that I don't feel as if I'm wasting a sunny day being in an (hopefully) air-conditioned carriage, but on the negative side you get lots of people coming in who are slightly damp and possibly quite warm from rushing for a train.
On the way to London last Friday, the weather was mostly quite reasonable but on the way back it was pretty awful. Also the train staff seemed to be playing some sort of bingo, seeing if they could cross off enough possible faults to fill a card. We had a loss of power (although I did have a fine view of Alexandra Palace), signal failure, 8 warnings in a row of a disabled person have activated an alarm (which prompted me to wonder whether the disability might be obsessive compulsive disorder) and an air-conditioning breakdown. It's a bit of a shame because the time spent in London was actually good and relaxed. It was nice to catch up with Malek and Karla in the same room for the first time since our graduation.
Monday was spent finishing off a trailer and dialogue edit (and watching Serenity with my brother whom I'd introduced to Firefly just before I went to London), then I took Tuesday off because it was my birthday and there wasn't much pressing to do. It hadn't been my intention to do sound for the Biggar Theatre Workshop production of "The Rivals" but I ended up there anyway because of the director's propensity to want to throw things at the cast from the gallery whilst he was doing sound. There isn't a lot of sound to do really, mostly fading up music to cover scene changes. The scenes aren't so long that I get massive gaps which I might reasonably do something useful with, although I have been racing through the PG Wodehouse omnibus.
Spent a happy day today messing around with some recordings I made in London and a few other places to make background sounds for a space port. Particular favourites at the moment are spaceships sourced from a freezer with a dodgy motor at the Co-op (on Mile End Road if you are interested) and various positions around a boiling kettle. I may also add some of the space ship sounds I came up with for "The Judas Gift," which were sourced from pieces of thin plastic tubes sticking out of a car window, with a microphone stuck up one end. My recording schedule for post-production elements also include sessions involving pasta and over-ripe fruit (not together).
Here someone has started to do Star Wars as a silent movie with the inevitable Scott Joplin piano rags, I include it for your amusement. Oh, and this was my 200th blog post apparently. Good heavens...