I recently did an interview with someone writing a paper for a conference, and most of the discussion was about the process we used to make The Insatiable Moon.

In the latter part of 2009, when we knew we were going to proceed on a shoot budget of $350k instead of the anticipated $6m, we were given an introduction to a Canadian DOP Thomas Burstyn. Director Rosemary and I met him in the cafeteria of Images post-production house in Auckland. It was less than an hour, but turned out to be a meeting of minds that has blossomed into an enduring friendship.

Tom is a vastly experienced and talented filmmaker, who has worked on major films and television series throughout the world, and spent several years in Hollywood. Fortunately for us, he married the equally brilliant Kiwi filmmaker Sumner Burstyn and moved to NZ, where one of their collaborations was the sensational feature documentary This Way of Life. Over the years, Tom had developed an idea or two about the making of movies, drawing on insights that are only available to those who have been in the game for a long time. He was concerned about the growing tendency of filmmakers to rely on equipment and technology to the neglect of story and drama.

In a short paper, he outlined a new philosophy of filmmaking. He compared it to the Japanese concept of wabi-sabi: a simple and modest beauty waiting to be discovered. Tom advocated the turn from “artifice to authenticity”. This would involve adopting low-budget filmmaking as a chosen path rather than an enforced economy. The keys to what he termed ‘Frugal Filmmaking’ (though he now prefers ‘Simple Cinema’) include the following:

1. Focus on script and story rather than technology and effect. Relegate the equipment to the role of serving the story.

2. Respect the script and make sure it is in good shape before starting the shoot.

3. Allow time for the director and cast to rehearse and immerse themselves in the story each day.

4. Reduce working hours for the crew, so that they are sharp and attentive. The director, cinematographer and continuity to start an hour before the main crew each day (to plan).

5. Less gear to make the crew light, mobile and focussed on what is happening in front of the camera.

Importantly, Tom argued that this approach called for more proficient crew rather than the usual assemblage of cheap hires employed by low budget filmmakers. He advocated highly experienced people be appointed as heads of department in the crew – workers who know their craft and are able to achieve great results with minimal resources. If this methodology were to be adopted, quality films relying on script, director and cast could be made for a fraction of the usual cost.

Needless to say we warmed to this approach, and opted it to adopt for our forthcoming shoot. Tom came on board as our Director of Photography and in-house Frugal Philosopher. His great skill and gentle humour guided us into the practicalities of the theoretical framework. We decided to make The Insatiable Moon a showcase for the possibilities of Frugal Filmmaking. All of our lighting, electrical and camera gear fitted into the back of a specially racked out Transit van. We opted not to use dollies, and certainly no cranes! Camera movement was enabled through employing a fig rig and a wheelchair dolly. Very experienced heads of departments worked alongside film school graduates in a spirit of friendly cooperation.

The testimony to this way of making films is that we finished the 5 week shoot on schedule, on budget, without needing any pickups. The film benefited from superb performances from the cast, who were allowed and encouraged by the director to bring their A game to each setup. The crew worked together with commitment and friendly cooperation; it was an incredibly happy shoot, as veteran Ian Mune commented. Director Rosemary Riddell and DOP Tom Burstyn formed a dynamic duo, with the director working almost solely on performance and story, giving Tom freedom to direct camera and to make the film beautiful. We ended up with a film attracted four stars in Empire magazine, and was of sufficient quality to open at Leicester Square’s Empire cinema in London.

The hope is that this minimalist approach to equipment and its focus on telling great cinematic stories will grow into a movement. Tom plans to expand his paper into a book, as a means of spreading the word and inspiring others. And we plan to continue working together to make films according to his ground-breaking approach.

Posted in news