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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Sonja first developed ‘In Real Life’, a story about a group of people connected through Internet Relay Chat (IRC), during the November novel-writing challenge. For Script Frenzy 2010, she transformed the prose into a 100-page English-language screenplay in thirty days, working to a daily page target and turning narration into dialogue, scenes and visual description. The challenge created momentum, not the finish line: she continued revising until it became a polished final draft, placed it on deposit for copyright protection and sent it to a filmmaker and a German actor. The certificate does not matter. The useful proof is the ability to combine steady daily work with a concentrated burst, change formats and finish.