On the Cheap
So we’re planning to make this film cheaply and quickly. The thing is, I don’t know how often I’ve said that.
The first film I made was set in and out of Happy Eaters and A-Road diners. We thought that because they were cheap to eat in they would be cheap to film in. In fact of course they take thousands of pounds every hour of the day and into the night and it would be cheaper to close the Ritz than to close an A-6 OK Diner.
In Grow Your Own we were convinced that an allotment would give us “free beauty on screen”. Of course a few days prep was enough to show both us and the allotment holders that no working garden could survive a lengthy visit from a film crew so we ended up having to build (and secure) allotments from scratch.
There’s also the whole problem of communication and understanding. I can remember watching a whole crew decamp and make a full day move to shoot one of my characters walking uphill. I thought afterwards - well he doesn’t really need to be walking uphill. Up stairs would do. I just want him to look quiet. If we’d had that conversation before scheduling, we could’ve saved a day. Especially as it ended up on the cutting room for.
So this time we have a producer - Sarada McDermott - in the team from Day One. She’s going to look at the treatment and tell us what looks difficult or pricey and I’m going to try and address things at the script stage rather than later.
What else are we doing to keep the price down? Well it’s going to be written for specific actors who we know want to do it. So that should save months of casting.
And I’m trying to come up with story that involves a lot of repetition and variation so that should mean we can use the same locations a lot but in an interesting way - a way that looks formal and a bit hypnotic, rather than just ... well a bit rubbish.
And we’re keeping away from Happy Eaters.