Together with Mark Neilson (Out of the Blue, Scarfies, The Pretender), veteran actor of both stage and screen Louise Petherbridge (Starlight Hotel, Pictures) entrances with her portrayal of a geriatric escapee.
The short film Cake Tin is the first film off the block for Screen Dunedin, a network of filmmakers from the deep South of New Zealand. It’s also Director Rosemary Riddell’s first venture into directing in this medium, despite her previous experience in both acting and directing for the stage. “It was a steep learning curve,” she says, ‘but hugely rewarding.” She valued the assistance of a competent Director of Photography (Scott Mouat) in the process.
The film is an urban story of adventure and unlikely companionship, set in the gritty streets of South Dunedin. “Shooting in contrasty black and white helped to focus on the dramatic elements of the story,” said the Director. She was keen to keep the narrative as simple and unadorned as possible. “I wanted the film to unfold through the eyes of Florence as she makes her way in the world.”
Cake Tin was written by the established Dunedin children’s writer, Bronwyn Tainui. She is intrigued by unlikely friendships which bridge cultural divides, and had fun exploring this in her script. The story was always intended as a quintessential Dunedin tale; one which captured the ‘feel’ of the city as well as dispelling stereotypes associated with the elderly.
Tainui not only wrote the screenplay, but was present on set handing out muffins and hot tea during the cold nights of shooting. The temperatures and conditions in the midst of a wintry climate presented a challenge for crew and actors alike. “I was full of admiration for the way Louise (Petherbridge) managed to keep cheerfully doing takes in the early hours of the morning,” said Tainui.
Max the Doberman was equally patient through his taxing schedule, especially when multiple shots were required of him scoffing cakes. He became a hit with both cast and crew, despite early misgivings about the somewhat intimidating size of the dog. He was a dream to work with, superbly trained by his handler Jim Reay; apart from one sequence in which the Director finally gave up on trying to extract a very specific menacing growl.
The low-budget venture was made for the love of film, Producer Mike Riddell says. “We called in all the favours we could from local crew and technicians, and probably came close to wearing out our welcome with some of them.” He was full of praise for NHNZ, the internationally-renowned natural history unit based in Dunedin. Founder Michael Stedman gave his support to the project and allowed Screen Dunedin to access the resources of the company during filming and post production.
“We were also very fortunate to secure the services of first-rate actors for the leads in the film,” he says. “The whole process was an expression of the enthusiasm, generosity and creativity which marks the Dunedin community, and which makes it such a fertile location for film production,” enthuses Riddell. He is a screenwriter himself, and was attracted to the project by the strength of the script.
The original score for the film was written by Dunedin musician Michael Grant. He produced a very sparse and haunting melody, rich in thematic elements, which carried the emotional shifts of the film perfectly. The piece was written for three instruments, and its strong piano foreground conveys the slightly old-fashioned feel which the Director was aiming for.
The twelve-minute film was shot over two weeks in October of 2005. The Holy Cross Centre in Mosgiel was mocked up to provide a credible rest home. So much so that neighbours wanted to know why they hadn’t been consulted over the change in function of the property. And residents of South Dunedin streets were remarkably tolerant of the generators and bright lights which disturbed their peace.
Post production was assisted by the team at NHNZ, and included the valuable oversight of Stephen Downes (DOP Scarfies). The film has been produced on Digibeta and is available on DVD.