ADR, soundtracks, and paying for Mick Jagger's new house

We take a deep breath and plunge back into the film proper. Nick is back and we complete the offline in August.

We need to do some ADR (Audio Dialogue Replacement) as our sound guys have had a few unexpected problems on the shoot. The four lads arrive in Bristol for the day and repeat their lines. It's a slightly weird thing for all of us to hear them doing their lines again and in the anaesthetised environment of a studio.

It seems to work, although it's a shame the sound wasn't top notch first time as the performances are never quite as good. It's great to see the lads again. Someone should really give these guys a job, they're too good to be sitting on their hands.

The ADR session coincides with our realisation that using any music in the film by well known bands just isn't going to happen.

Guy contacts the Rolling Stones' publishers to ask for permission to use four lines of 'You Can't Always Get What You Want' and is slapped with a $200,000 bill. So suddenly Harry isn't singing that old favourite any longer. This causes us an additional headache as we must now re-edit that section and remove Harry. This is a huge shame as it's one of the film's classic bits.

Guy and John work out a way of still using Harry, but changing what he's saying. More ADR is required from Robin.

John gets married at the end of August and disappears off on honeymoon for three weeks. With the HTV money the film can now go into post-production and already tracklay and foley has begun.

There's a sense of mounting excitement, but this is tempered with more bad news about the use of any pop tracks. It's just not going to happen. The lady at Virgin laughed when we mentioned a Bowie track. It wasn't much better with David Gray and even Toploader wanted £10K for Achilles Heel.

With John away and time running out Guy decides to employ a composer to work on the music. Originally we were to use Bunkersonics who had worked on the tv series, but the guys are just too busy and we need the full score completed by mid October.

Nick Reece of the Supertoys is our man. He's the brother of a mate and has written commercials and tv dramas. He agrees to a paltry fee and gets cracking. He has six weeks to complete. It's a daunting task.

John returns from honeymoon and is immediately into the thick of the online edit. Work is needed on the various special effects, specially the explosion which still looks like it's been shot in a scrap yard (hardly surprising as it was).

Nick Reece is beavering away on the music and Tom's girlfriend Sophie has written a stunning theme tune for us. She has an awesome voice. Nick has brought a whole new vision to the film and has very definite ideas about the feel musically.

He brings the music down to the Pink House (our post prod home) on October 22. On the same day Robin arrives to complete his ADR. By Wednesday, October 24 2001 we have our first feature film finished. A few days shy of a year after we started it.

It's not on film yet, but the picture and sound are locked and it feels good. Now all we have to do is sell it.