March 1st sees a double bill of short films screening at Plymouth Arts Cinema. Filmed in Cornwall, Sam tells all about The Breakwater.
Tell us about The Breakwater – what can we expect?
The Breakwater is a poetic drama, focusing on a young woman who works as a published poet. We begin following her in the wake of her father losing his life at sea, through the grief she experiences. Then the process of her small Cornish community coming together to help her deal with her loss.
What inspired the film?
My time at Falmouth University really gave me a love for Cornwall. Its real beauty, both in physical locations and scenery but also in its spirit. Full of strongly bonded, kind communities that seem to have been lost further afield but hold true in rural Cornwall. An example is the county’s shanty groups, one of which we had the pleasure of working with on The Breakwater. Barrett’s Privateers kindly allowed me to use their music in the film and they also featured in a scene themselves! Formed of family and friends with a passion for shanty/acapella music, their bond reflects that community-driven way of life.
We also had the pleasure of filming the St. Agnes RNLI crew, local volunteers risking their lives to ensure the safety of those at sea. They were really happy to be involved after a discussion with the station’s social media coordinator. In return we’ve raised money for the station via our initial screening held in St. Agnes’ Miners and Mechanics Institute. It’s a really brilliant venue that holds all kinds of events for the local community!
As a local filmmaker, how important was it to make this film in the South West?
I think it’s incredibly important to keep creative work in the South West. We have talented cast and crew here and it’s important that projects keep filming here, making use of the talent. We have a mass of wonderful locations, too.
I completely understand the need for people to move where the work is; to bigger creative hubs and cities but if we can keep making films in the South West, especially bigger and better projects each time, then I don’t see why Devon and Cornwall can’t be another hub for filmmaking in the UK. Embrace its rural nature and the opportunities and stories that come with that.
Talk us through the locations that you chose.
We were incredibly lucky to find the perfect spot for our central character’s home. This is an old cottage atop the cliffs in St. Agnes, North Cornwall. Visually matching the story, adding a ton of production value in its appearance and backdrop allowed us to capture what was there in front of the lens. There was no need for masses of set decorating and building.
We also worked with ‘St. Agnes local development committee’, securing filming permissions for the Jubilee Gardens above St. Agnes beach. Here we held the shanty singing scene with Barrett’s Privateers with additional member Rory Wilton who plays the other leading role.
How was your overall experience of making the film?
It was a very short shoot. We managed to film the majority in under two days at the cottage and other village locations. We then popped back to film with Barrett’s Privateers and the RNLI for just a couple of hours, as they held their regularly scheduled training sessions.
Looking back, I’m not sure how we managed so much in such a short amount of time – and with such a streamlined crew. There was myself as director/producer and sound, Justin Carter juggling cinematography/lighting, Jim Elton as BTS photographer/lighting assistant/camera assistant and Isabella Esposito, when not on screen helping as a production assistant. Each of us took on several roles, as the space wouldn’t allow for many more hands-on-deck. This really worked in our favour, developing a shorthand to our work, getting into a nice flow. I feel it helped us achieve a smooth edit and smart final project.
A really lovely memory from the shoot was the first time meeting Rory Wilton in person on set, after several zoom calls to discuss the role and plans for the day. He is such a lovely person and incredibly talented actor. Seeing him in character as Jago for the first time in red postman’s outfit put a smile on my face.
What lessons learned from the experience would you share with other filmmakers?
I think the biggest thing I’ve learnt from the last couple of years is not to be afraid to ask. Low budget and self-funded projects are hard enough to get off the ground, let alone to finish and release. Be cheeky, ask people to help or collaborate on getting something made; it really can get projects across the line.
Asking Barrett’s Privateers if they’d like to be involved, the cottage owner for permission to turn his property into a film location, or to film with the St. Agnes RNLI station. Even contacting Harry Glasson, original singer/songwriter of ‘Cornwall my Home‘ for permission to use it in the film. All of these things I thought would be out of my grasp. In reality, an initial polite interaction and discussion around what we hoped to achieve made it possible.
Finishing things you’ve started is the most important thing when you’ve used up people’s time and effort working on something. I feel it’s the least you can do. So far myself and my regular collaborators (Justin Carter, Isabella Esposito, Jim Elton, Caneshia Voisey) have achieved that every time, which I’m pleased about.
Looking ahead – what’s next for you?
Bella [Esposito] and I are currently writing a feature script and have several short film scripts completed. We’re looking at options for grants and funding as well as honing our screenwriting for possible optioning to film markets. Developing more ideas and getting them down on paper is the current focus.
I also want to get back into documentary filmmaking myself; I haven’t been working on those kinds of projects since university where it was one of my main focuses, so with some guidance from Pip Piper who ran the Making Waves doc classes, I think that is where I would like to head over the next year or so. All while continuing my main craft of Location sound recording on as many projects as possible for other filmmakers.
Finally, you recently supported young filmmakers in Screen Devon’s Making Waves Doc Lab – tell us about your experience.
It’s been a really positive and beneficial experience for me, seeing a group of young people develop ideas and get out and make things even on a small scale, just with the kit they have to hand, primarily smartphones. It was brilliant to see them engaging with the theory side of documentary filmmaking too.
We discussed the recent bomb that was dredged up in Exmouth marina and broke down ways that the story could be explored further to develop documentary films around the subject. They considered ways that go beyond news casting and deeper in to those affected by evacuations, and even ideas for docs focusing on the historic relevance of how and why the WW2 ordinance was there. It was lovely seeing some of the projects that they made in their spare time between sessions, all entirely different in method and subject, but all relevant to the individual which was lovely to see, as they began to gain a voice as a storyteller through documentary film.
A number of attendees have plans for continuing film making in the area, or going on to university courses and moving away to further their path into the film industry. All of which is great, the more people working in film and having an interest in storytelling the better!
Big thanks to Sam for sharing his experiences. We’re also hugely grateful to Jim Elton for the BTS images!
How to see the film
You can see The Breakwater, along with Level 10: Wild Wild West at Plymouth Art’s Cinema on 1st March, from 2.30pm. Tickets are free and the screenings will be followed by a Q&A and drinks. Grab yours here.