Editing Get Carter (section)

===Filming===
Principal photography took place in the North East between 17 July and 15 September 1970.<ref name="Chibnall, p. 35"/> Hodges favoured the use of [[Long-focus lens|long focal length lenses]] (as he had used previously on ''Rumour'') in many scenes to create a naturalistic documentary feel, especially in crowd scenes.<ref name="Williams-2006"/> The film was shot in [[Metrocolor]],<ref name=AFI/> which was MGM's trade name for films processed at its [[Eastman Color|Eastmancolor]] [[Film laboratory|laboratory]]. This lab processed [[Kodak]]'s [[Eastman Color Negative]], so it is most likely the film was shot on this stock.<ref name="Hanson-1952">{{cite journal |last=Hanson |first=Wesley T. Jr. |title= Color Negative and Color Positive Film for Motion Picture Use. |journal=Journal of the SMPTE |date=March 1952 |volume=58 |issue=3 |pages=223–238|doi=10.5594/J05041 }}</ref><ref>{{cite journal |last=Pomerance |first=Murray |title=Notes on Some Limits of Technicolor: The Antonioni Case |journal=Senses of Cinema |year=2009 |issue=53 |url=http://www.sensesofcinema.com/2009/feature-articles/notes-on-some-limits-of-technicolor-the-antonioni-case/ |access-date=16 March 2012 |author-link=Murray Pomerance |editor1-first=Caputo |editor1-last=Rolando |publisher=Senses of Cinema Inc |location=Australia |archive-url=https://web.archive.org/web/20120325022502/http://www.sensesofcinema.com/2009/feature-articles/notes-on-some-limits-of-technicolor-the-antonioni-case/ |archive-date=25 March 2012 |url-status=live |df=dmy-all}}</ref> Asked to comment on what he was aiming for in the look of the film, cinematographer Wolfgang Suschitzky said "The camera work on it [...] it was very influenced by Mike Hodges who has a very good eye for setups and he of course conferred with his operator and myself, but he influenced all of us, and much of the good look is due to him, I confess. My main task was lighting on location, very moderately, and waiting for the right daylight and setting the exposure on the lens".<ref name="donat-06-08-2009">{{cite web |last=Donat |first=Misha |title=Wolfgang Suschitzky: "Get Carter" with Mike Hodges and Michael Caine |url=http://www.webofstories.com/play/22808?o=MS |work=Web of stories 06 August 2009 |publisher=webofstories |access-date=21 February 2012 |archive-url=https://web.archive.org/web/20120411143905/http://www.webofstories.com/play/22808?o=MS |archive-date=11 April 2012 |url-status=live |df=dmy-all}}</ref> In the first week of shooting in Newcastle, the [[ACTT]] called the crew out on a one-day strike.<ref name="Cairns-04-10-2010">{{cite web |last=Cairns |first=David |title=An interview with Mike Hodges, April 10, 2010|url=http://www.britmovie.co.uk/2010/04/10/an-interview-with-mike-hodges/ |work=Britmovie.com |publisher=britmovie.co.uk |access-date=9 March 2012 |archive-url=https://web.archive.org/web/20120722143359/http://www.britmovie.co.uk/2010/04/10/an-interview-with-mike-hodges/ |archive-date=22 July 2012 |url-status=dead |df=dmy-all}}</ref> At the advice of [[Richard Lester]], Hodges and his assistant director stayed at a separate hotel to the rest of the cast and crew, which enabled him to have some respite from the production after the shooting day was done.<ref>{{cite web |last=Thomas |first=Lou |date=10 March 2021 |title=50 years of Get Carter: A new interview with director Mike Hodges |url=https://www.bfi.org.uk/interviews/get-carter-mike-hodges |url-status=live |archive-url=https://web.archive.org/web/20210310125300/https://www.bfi.org.uk/interviews/get-carter-mike-hodges |archive-date=10 March 2021 |website=[[British Film Institute|BFI]] |location=London |access-date=11 March 2025}}</ref> Klinger was present on set for much of the film shoot. However, Hodges said he encountered very little interference from the producer. At one point Klinger and Caine asked if Hodges might work in a "chase sequence", but he persuaded them that it would draw too many comparisons with ''[[Bullitt]]''<ref name=Klinger/> (a chase sequence between Carter and the London gangsters is mentioned in the shooting script).<ref>Chibnall, 2003, p. 80</ref> Hodges tried to rehearse the racecourse scene between Caine and Hendry in their hotel the night before shooting, but "Hendry's drunken and resentful state forced Hodges to abandon [the] attempt".<ref>Chibnall, 2003, p. 56</ref> Hodges described Caine as "a complete dream to work with".<ref name=Cox/> Caine only lost his temper once on set, during the very tense and emotional day filming in Glenda's flat, when the [[focus puller]] ruined his first [[take]]. Caine apologised immediately.<ref name=SC27/>

The most complicated scene to shoot was Kinnear's game of cards. There are four simultaneous conversations, with a lot of plot exposition and the introduction of two important characters, Kinnear and Glenda. The technical complexity was compounded by the variation in light coming through the windows, and Osborne's whispered delivery<ref name="Chibnall, p. 57">Chibnall, p. 57</ref> which made microphone placement difficult. Hodges moved the camera and the [[Boom operator (media)|boom]] closer to Osborne as the scene progressed.<ref name="Collings-30-12-2010"/> Chibnall says that Hodges regretted not rehearsing the scene more thoroughly.<ref name="Chibnall, p. 57"/>

[[File:Site of aerial conveyor, Blackhall Colliery - geograph.org.uk - 1610042.jpg|thumb|left|The location of the closing scene of the film, [[Blackhall Colliery#Blackhall beach|Blackhall Beach]] near [[Hartlepool]]]]
[[File:North Blyth, Base of North Side Staithes - geograph.org.uk - 1743242.jpg|thumb|right|Base of the North Side coal staithes, [[North Blyth]], Northumberland. Near the film's conclusion, Carter chases Paice along these. The tops of the staithes as they appear in the film have been demolished; only the base of the structure remains.]]

In shooting the scene in which Carter throws Brumby to his death from the multi-storey car park, Hodges used four shots: one of the pair struggling high up on the stairs; one from the lowest level of the stairwell where Caine actually threw Bryan Mosley over the side onto mattresses; one shot of a dummy falling; and one of the body of Brumby on top of a crushed car.<ref name="Hodges-26-07-2010"/>

Carter's climactic pursuit of Eric used an amalgamation of two locations spaced {{convert|35|mi|km}} apart: [[Blyth, Northumberland|Blyth staithes]] and [[Blackhall Colliery#Blackhall beach|Blackhall Beach near Blackhall Colliery]].<ref name="telegraphbeach">[https://www.telegraph.co.uk/arts/main.jhtml?xml=/arts/2008/08/23/bfbeaches123.xml&page=3 "The 50 best beach scenes in the movies"] {{webarchive |url=https://web.archive.org/web/20080912063249/http://www.telegraph.co.uk/arts/main.jhtml?xml=%2Farts%2F2008%2F08%2F23%2Fbfbeaches123.xml&page=3 |date=12 September 2008}}, ''[[The Daily Telegraph]]'', 23 August 2008</ref><ref name="NrthEcho,28-08-2000">{{cite news |title=Hoping to get Caine for coastal spectacle|url=http://www.thenorthernecho.co.uk/archive/2000/08/28/The+North+East+Archive/7131798.Hoping_to_get_Caine_for_coastal_spectacle/ |access-date=24 February 2012 |newspaper=The Northern Echo |date=28 August 2000 |archive-url=https://web.archive.org/web/20131227133654/http://www.thenorthernecho.co.uk/archive/2000/08/28/The+North+East+Archive/7131798.Hoping_to_get_Caine_for_coastal_spectacle/ |archive-date=27 December 2013 |url-status=live |df=dmy-all}}</ref> The chase scene was shot in reverse, with Hodges filming Eric's death scene first because of Hendry's poor condition, Hodges being worried that he would be too out of breath to play the death scene after running. Hodges chose the beach for its bleak, dark atmosphere but when he returned to shoot the scene he found it bathed in bright sunshine, unsuitable for the sombre conclusion he was hoping for. He waited hours until the sun began setting to capture the overcast shadowy lighting seen in the film.<ref>Chibnall, 2003, p. 86</ref> The film shows the beach black with coal spoilings, dumped there by the mine's conveyor system. The conveyor, a common sight on the East Durham coast, was known locally as The Flight. In the early 2000s, £10 million was spent removing these conveyors and the concrete towers, and cleaning tonnes of [[Coal refuse|coal waste]] from the beaches of East Durham. The cleaning programme was known as Turning the Tide.<ref name="Nelson-02-16-2002">{{cite news |last=Nelson |first=Richard |title=Northern revival |url=https://www.theguardian.com/travel/2002/feb/16/walkingholidays.unitedkingdom.guardiansaturdaytravelsection |access-date=24 February 2012 |newspaper=The Guardian |date=16 February 2002 |archive-url=https://web.archive.org/web/20131228053040/http://www.theguardian.com/travel/2002/feb/16/walkingholidays.unitedkingdom.guardiansaturdaytravelsection |archive-date=28 December 2013 |url-status=live |df=dmy-all}}</ref>