01A horse, a missed train and no time to panic
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At Lazennec, ‘production assistant’ meant whatever had to happen next. One stretch involved finding a calm visual-match horse and matching horsebox for the final airport scenes, collecting a make-up trunk, reorganising Amanda Harlech’s journey after a missed connection, and safeguarding Chanel and Hermès production pieces. On other days came lighting rentals, metro location scouting, rights and RATP permissions, funding applications, festival submissions, URSSAF declarations, Kodak laboratory runs or helping a demotivated filmmaker through hours of video rushes. Every call and handoff went into a paper blocknote. The method: write it down, solve the next problem, keep smiling and do not panic. Everything kept changing; the work kept moving.
02One 20-foot container. No export training.
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Every month at Inter Agraria, a pharmacist and business owner in Conakry sent an order list through the local office for a 20-foot container of French pharmaceuticals. Sonja negotiated with several French suppliers, placed the orders and chased missing deliveries into a freight forwarder at Paris CDG. Once everything had arrived, she arranged trucking to Rotterdam, organised the Veritas inspection, assembled the stamped documentation for the letter of credit and shipped the container to Conakry. She then billed the customer and ensured the suppliers were paid. No formal export training: she learned the complete chain, ran it end to end every month and trained her successor.
03A drum band, a tiny camera and the next question
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Good Morning Paris already published articles from aspiring contributors, with Allan Tillier applying strict editorial standards. Then Sonja filmed a Brazilian drum band in Parc de la Villette on a small photo-video camera whose memory held only a few minutes. Back home, she investigated how the footage might live online and pushed the thought further: as Wi-Fi emerged, readers could capture what was happening around Paris and send it almost live. The video idea remained exploratory, not a launched feature. What it reveals is the reflex: notice a new tool, connect it to audience behaviour and imagine the format before the infrastructure is ready, another way to make the outsider feel inside.
04One story. Two formats. One hundred pages.
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In 2010, I completed Script Frenzy: 100 screenplay pages in 30 days. I adapted “In Real Life”, a story about people connected through Internet Relay Chat, into an English-language feature screenplay, turning prose into dialogue, scenes and visual description. I worked to a daily page target and continued revising after the challenge until I had a polished final draft. The work sharpened structure, dialogue, pacing and the ability to keep a reader moving from one idea to the next.