parts, where it’s very uncertain and
there’s always constant danger lurking around every tree and shrub.
Having our shoot be so ‘on-the-go’
like it was helped bring out that feel.
We wanted to bring out the harshness of nature in those parts, so it fit
what we were aiming for.
Could you elaborate more on
the collaborative aspects of this
project?
LSL: I’m sort of used to these small
indie productions, because I mainly
shoot in Costa Rica, where some film
budgets are practically nonexistent,
or just very small. A lot of projects
I’ve worked on here have been done
with very minimal crews. Working
this way, you learn to juggle the
various responsibilities and be more
hands-on with all the departments.
It helps you to understand more of
the big picture, and to have more of
a grip on all the different aspects of
filmmaking. So now I have a better
grasp of how lighting works, for instance, so I can do that myself if I
need to, instead of delegating it to
someone else.
It can be a double-edged sword,
of course. I love to work with a
big crew, and that has many benefits. But when it does have to be
done like this, at least I know what
to prepare for and what to keep a
lookout for, and what I need to do
to get things done. With this close
collaboration, everyone’s roles are
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Hanna (Julie McNiven) & Trace (Shaun Sipos) check in to their hotel
Hanna (Julie McNiven) & Thiago (Phillip Garcia) take off on a racing bike
‘The Babymoon’ cast & crew pose for a group shot
