One of the big takeaways from making this first feature film was that everything about budget and production can be questioned. I think that everyone knows this. That you can just say fuck it and do it low-budget, but then when you try to do it and get people on board, a lot of people get scared that they won’t have enough resources.
I found that a lot of the cinematographers we talked to, all of them excellent, were approaching the low-budget film from the starting place of a high- or medium-budget indie film. For instance, they were thinking that you just do a scaled-down version of stuff and we wanted someone to come at it from a completely different approach. We kind of had to figure this out along the way and realized that we were framing and positioning the value proposition of working on this film in the wrong way.
We wanted someone to look at it as an opportunity to experiment and use the camera in interesting ways, to create a different kind of beauty. Not the kind of beauty of just beautiful images, but the beauty of using the camera poetically or creatively in new ways.
For me it was about this: that making something dull would be tragic, but making something ugly would be acceptable. And the choice between making it purely beautiful in an aesthetic sense would mean more time, more crew, and of course more money. In other words, it was a choice between making the film now or waiting months or even a year to make it, while we raised more money.
I was in part inspired by The Celebration, which I watched for the first time in the months before production. Visually you could say that it’s ugly. It’s shot on video and it’s very grainy, especially at night when the ISO is ramped up. They used only practical lighting, no outside lighting equipment. And it shows. But, it’s also one of the most intense, grab-you-by-the-throat films I’ve seen in the past few years. The camera is wild and maniacal and the story is incredibly emotional and gut wrenching (and hilarious at times). I would much rather watch something emotionally powerful than sterile and pretty.
In the end, we did end up with some gorgeous shots. But more importantly for me, we got some emotionally charged pictures. One of the final images of the film, which I can’t talk about yet, is one of the best shots I’ve ever captured. If it works the way I intended, then it will be the kind of image that resonates and stays with the audience long after they’ve watched the film.
I haven’t started editing yet, so I don’t really have a good sense of how well the film will come together, but I’m confident that it will not be boring.