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John Smedley's Mill, Cromford. |
The Rumour Mill is set in John Smedley's Mill in beautiful Cromford and 'whispers about the future of energy along the Derwent Valley'. I was immediately captured by Bexie's energy and enthusiasm, her beautiful imagery in 'Mend and Make Do' and the opportunity to be involved in something so exciting and right at the beginning.
However, as well as being a full time student, I'm also a full time Mum. Lee, my lovely and supportive husband, and I have arranged our lives so that we can offer as much time as possible to our daughter during her childhood, in the hope that she grows up in a happy, supportive and creative environment, meaning that Lee works the late shift at Derby University, in the equipment centre, and can do the morning school run, and I can work early and do the school pick up and variety of evening commitments. My only question, therefore, was how to make this work?
Luckily the location is within easy commuting distance, Bexie and her team are friendly and flexible and some of the tasks could be completed away from the Mill and so I was able to put my hand up and say 'me please'.
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Set in production. Familiar? |
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Bexie at work in the studio with Jeremy in the background. |
Walking into John Smedley's is like stepping back in time. Through the thick, paint encrusted front door, up the wide wooden stairs and turn left into a relatively modern (circa 1980s) office housing little clusters of workstations with, thankfully not 1980s, computers. A friendly receptionist dishes out a site pass and a Health and Safety questionnaire. Once this is complete and I have solemnly sworn not to climb any ladders without proper training we are good to go.
The studio is located through huge double doors behind the office, stepping back from the 1980s to the 1950s. Uneven wooden steps, echoing corridors, huge, colossal doors with windows showing peeks of industrial textile machinery and finally into the cavernous studio space where Bexie and her team have set up production. There are drawings, photographs and both full and small scale models everywhere. A huge iMac, a detailed modelling area for Jeremy - the very talented chief of models (his unofficial title), and a set of workbenches along the right hand side with mucky aprons, craft knives, cutting mats and other equipment ready for eager interns.
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Set Design for the full scale models |
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Cutting bricks |
The tasks have been varied, fun and sometimes arduous, cutting hundreds and hundreds of little rectangular bricks from thick card with a scalpel (I later devised a Stanley Knife and very sharp scissors technique, but only when the precision of the size could be guaranteed). We all suffered from 'scalpel finger' but the work is enjoyable and meditative with a lot of jolly chat and always cheerful and varied music in the background (Bexie is from a creative and musical family). Each component of the full scale model has to be made by hand, so other work has included sanding and painting various machinery parts, including a huge air vent that will be constructed, piece by piece from many hollowed out and individually plastered, sanded and painted blocks.
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Model textile machine |
The Mill, which is most famous for making and supplying the Queen's knickers, is wonderful and the work interesting and varied. At 12 noon the workers lunch bell rings and the machinists and textile operators go to the canteen for lunch. At 1pm the bell rings again signalling a return to work, and the start of our own lunch break. The canteen is subsidised selling all sorts of hearty fare for the grand total of about £1.15 including a cup of coffee. I didn't ask what the vegan option was but usually settled on a proper cheese and thick cut onion sandwich on white bread - just the job after a hard mornings scalpel wielding.
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Cutting 'bricks' |
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Industrial strength sanding |
So far I have learned a good deal about the art of model making - for example the parts for the air vent were not straightforward - each piece is slightly different and so they are numbered for correct assembly, and the plaster / poly resin coating they were given reacted with the first batch of paint, resulting in heavy peeling which had to be sanded off by hand as a smooth surface is required. I cut many, many small clay roof tiles, some of which could not be used as the thickness of the clay had to be precise (not my incompetence, just a result of the technique, it is impossible to guess exactly how thick the centre of the clay is once it's rolled out and you have only a few minutes to cut them before the thin clay begins to dry). It was lovely to be able to add value by using the Stanley Knife and very sharp scissors on the bricks, which cut production time down by at least half, and as I have a friend in the textile industry, I was able to give Bexie a huge bag of industrial clips and fastenings that can be used as machinery parts.

I've taken a few weeks break from the Mill to concentrate on the last couple of weeks of University before final submission, and also to accommodate the Nottinghamshire Schools Easter Holidays, which are inconveniently out of synch with the Derby University holidays, but I have been assured I will be welcomed back 'with open arms' as soon as the Semester finishes. I can't wait to see what the next stage in the film production will be and to perhaps learn some new skills.
I've also discovered another potential employment opportunity for the future, maybe theatre design or set construction could form part of my employment portfolio? Exciting stuff.
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Hundreds of cut out bricks |
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Hundreds of hand drawn bricks |
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Monica applying the bricks while John works in the background |
You can read an interview with Bexie Bush about the making of 'Mend and Make Do' here.
H. x
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