Marker 60, take 2.
The film is primarily set in Notting Hill... because I grew annoyed
with having to get up so early in the morning when I was filming.
Since I live in Notting Hill, it means I can get up at five to eight...
and be there by eight o'clock.
That's the real reason!
The unreal reason is because Notting Hill is a fantastic place...
and very complicated, with rich bits and poor bits and cosmopolitan bits.
It's a beautiful, lovely and complicated place.
We can do all the little things we wanted to do...
within one set area of London.
Notting Hill was great.
Very hard to get over my anxiety about taking Hugh and Julia...
into Portobello Road, which is very busy,
and, um, I was worried about that.
But there was so much good preparation by the location managers,
and we involved so many people in the street in Portobello Road.
All the shopkeepers are the real shopkeepers, and the stallholders,
and all the supporting artists we cast from around the area.
So we tried to pull in as much of the community as possible,
and they treated us very well.
Action!
[ Curtis ] Today we're doing Hugh's long, sad walk.
Um, the girl, Anna, leaves,
[ Doorbell Ringing ]
[ Clamoring, Shutters Clicking ]
and he is full of woe.
We don't want to be full of woe for long. We want to get back to some jokes.
We thought the way we'd do it is that he's gonna walk down Portobello,
but during the course of this one-minute walk, he'll pass through four seasons.
This is the first section of the seasonal walk.
This starts off in summer and then becomes autumn.
We start to get autumn leaves blowing and rain.
Um, there's an umbrella stall here.
These are the rain machines which will create the rain,
and some rain will be added in postproduction as well...
to increase the change from the summer.
This is a six-month walk.
Hugh's character walks along Portobello Road,
and it changes from late summer to autumn and it starts to rain.
And then to Christmas, and you see all the stalls selling Christmas trees...
and Father Christmases, and there'll be snow in the background.
And as he walks past Blenheim Crescent, suddenly you see...
an entire snowscape going off into the distance,
which will be partly real and partly visual effects.
There'll be snow in the foreground.
And he doesn't change at all. Hejust walks through.
Perhaps he puts his collar up at one point.
[ Kenworthy ] And then he walks along and comes--
This is the actual end of the shot.
It's spring again, and a woman who we've seen at the beginning,
who was pregnant six months earlier, now has a baby.
So we've tried to choose images...
that dramatize each season as clearly as we can.
For spring, it was the daffodils, uh, and Easter eggs,
but mostly daffodils.
And cut.