| Description | The rest of the box contains papers relating to the production of Daybreak, including a letter from Film Four expressing interest in the film. There is also a general contract and details of payments for Daybreak, as well as various lists of the crew and principal cast. Also included in the file are various copies of shot lists and draft licence agreements for the film. Correspondence with Milan Krsljamin at Sony Europe is included, referring to how Sony could help with the production of Daybreak and later there is correspondence about the use of visual media and the selection of stills from the production for promotion of the film. Also included is an advert for a new camera, eXtreme Nitro. Various budgets for the film are present along with hand written notes of the requirements of technical equipment, areas posing a problem, estimated set and location costs and costs which are not covered by the budget. Also included is a pre-production schedule and details of when cast members are not available for work on Daybreak.
Other documents relate to correspondence with Simons Muirhead and Burton solicitors about the use of VFG for Camera and grip work on Daybreak instead of GHS Scotland Limited and Karen Smyth's resignation over the issue. There is correspondence with GHS confirming them as the equipment hire company for Daybreak; this order was subsequently cancelled after VGF presented a better offer. Related to this are letters from GHS threatening court over a breach of contract. Also of interest is a CV of Keith Hunt on behalf of VFG Scotland. There is also correspondence with VGF about missing camera equipment.
Additionally there are documents relating to accommodation in Edinburgh during filming, including the requirements of accommodation, a leaving notice for tenants, details of tenants' responsibilities, forms for the exemption of council tax and a gas safety certificate. There is also correspondence with Lothian and Edinburgh Enterprise Ltd about the provision of office space, as well as an order form for English Natural Foods.
This is accompanied by details of when people are arriving and departing alongside various lists of music cues, including a music and poster clearance report, details about the legalities of music clearance and details of script amendments. There is correspondence over contracts, some of which is with Craig Wood about the position of Stills Photographer. Another letter acknowledges complaints from the crew regarding their contracts. Various call sheets are present, including no. 5 for 22 October, no. 10 for 29 October, no. 11 for 1 November, no. 9a for 28 Oct, no. 8 for 27 Oct. Some include maps and movement orders for specific days, including 26 Oct, 27 Oct, 28 Oct and 3 Nov. There are also hand written notes with details of locations, sets and problem areas, as well as location and shooting schedules, and concerns about fitting everything in on time.
Many of the documents are financially related. There are various drafts of budgets and letters about departmental budgets, including design budgets and location budgets, some hand written notes of bank details and correspondence about phone bills from the accommodation of the Production team. There is specific correspondence with Tom Sayer about the art budget alongside various memos to the producers and production team about a lack of resources and labour and about the art department budget. Also included is discussion about overspends and memos to the producers about the budgets. There are multiple lists of, and contact details for the crew and cast, as well as production schedules and details of a script production meeting. Also included is a credit account application form for Jessops, and correspondence with Natwest about Fax Indemnity for Daybreak Films. Many Productions reports are interspersed throughout the documents including, no.2 week ending 10 Sept 1999, and production calendars for 13-19 Sept 1999, 6-12 Sept 1999, August 1999, 20-26 Sept 1999. Reports about the progress of the production schedule are also included, such as daily progress reports for 20, 23,24,25, 26, 27, 28 October 1999, 1 November, as well as a general calendar for 11-17 Oct 1999. Correspondence, and a contract, with Sun Day is also present about the financing of Daybreak. There is also a photocopy of a cheque for Karen Smyth.
There are details of the Film four Lab, who partially funded the production, and how they provide backing for low budget cinematic films. Additionally there is correspondence with Channel Four about a press strategy. Also present is correspondence with Caroline Newson about the publicity of Daybreak and press interviews as well as a press release for Daybreak by Film Four and some notes for a Daybreak website by J. Hickney. A photocopy from The List is included which contains an article titled 'Rough Cuts' which features Daybreak. There is also a photocopy of an article titled 'Great Scots' from Time Out, as well as other articles which relate to Daybreak from magazines such as Screen International, The List, Hollywood Reporter and The Scotsman. A subscription to Film International and the Autumn 1999 issue of Screen Scene are also included. A letter to Valentin Popov is present, giving him permission to visit the filming and gather material for a series of artworks based on the production.
Other items of interest include various copies of development agreements and licence agreements between Film Four and Daybreak Films Ltd and many copies of shooting schedules. There is an overall production schedule and post-production schedule. Many documents relate to the post-production of Daybreak including some suggestions from Film Four about cuts, notes on a post screening meeting, correspondence with 'Digital Facilities' about editing Daybreak including charges and a quote of post production costs from 'Technicolour'. There is also a note pad containing various hand written notes relating to Daybreak and some concerns about schedule overrun.
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