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At the start of the editing, they brought in docu-fixer Mark Monroe, who looked at Chester’s 600 3×5 cards pinned to four 4×8 cork boards and told him about a quarter would make it into the film. He and his editor spent a year and a half whittling down over 800,000 clips, or 90 terabytes of footage.
“The film is really about the ecosystem and the rich experience of the animals, their stories.” “It would have been so easy to make the film about us,” said John.
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While her husband nabs more screen time as he tracks the livestock and their predators with his cameras, the director denies that the movie is centered on their story. Any time we’re irrigating, we inject the brewed tea straight into our irrigation system and spread this all over farm.” We take the worm poop and cut a two-inch layer off the bottom, and put it in the brewer. As the worms eat the compost, their gut biology infuses it with more microorganisms. “The worm castings are the gold of fertility. “The worms eat what we feed them and poop it out,” she said. On a recent tour, the film’s producer Sandra Keats, who works on the farm, shoved her hand into a freshly set batch of compost. A long, narrow shed shelters a moist worm bed in a deep compost bin. The secret of the farm’s success is poop: not only from the animals, but from worms. Shaggy Great Pyrenees live with and guard the chickens and livestock, alert at night, sleepy during the day. Visit Apricot Lane Farms and you will find a verdant utopia of trees and gardens and pastures, as sheep and cattle graze on grass (they are rotated around the farm to munch, trample, and poop), protected by solar-powered fences that deliver a nasty shock. Producer Sandra Keats reveals the heart of Apricot Lane Farms. I never told anyone in the business I was making the film, until literally, the editing stages.” I didn’t want the film to look like a documentary, but like fantastical cinema. “The more time I spent, the more aware I became of opportunities to illustrate very simple things in very cinematic ways. “The one thing on my side was time,” he said. For the Infrared cameras to film night predators like the bobcat, he used a Sony A7S with its IR filter removed, so that the camera would only record in black and white. He also used the fancier Sony F55 along with the occasional iPhone (“what you need there is a good colorist”). He kept an Inspire1 drone in his living room and deployed it to catch a deep fog rolling in over the house and the orchard.
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He knew how to apply his nature-cinematography skill set, using a specialized thumb-size Innovision macro lens on a probe snoot to shoot bees and snakes low to the ground. He kept a 4K Arri Amira in the back of his pickup truck, ready to go, along with some $200 consumer wildlife cameras.
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New cameras allowed Chester to create more hi-def professional shots. They now have a staff of 60 managing a farm with over 850 animals including chickens, sheep, ducks, cattle, and pigs.Ī single investor came in around the five-year mark to finance “The Biggest Little Farm,” which came in for under $1 million. They fought off pests and intruders, by siccing owls on gophers, ducks on snails, and rifles at coyotes. They planted wide varieties of stone fruit (cherries, peaches, plums, apricots) and citrus trees (oranges, lemons, limes) as well as avocados, strawberries, and kumquats. Like last year’s “RBG” and “Won’t You Be My Neighbor?,” the movie built buzz at festivals like Telluride and Toronto (and launched a bidding war, won by Neon) because it’s a forward-thinking, problem-solving heart-tugger that shows how human beings can happily and sustainably commune with nature.Īs the Chesters tried to reclaim dry, brown, infertile ground, they turned to agricultural savant Alan York, who taught them about biodiversity.
Fear does not get you through that love does.”Īfter playing to raves on the festival circuit, “The Biggest Little Farm” just opened in theaters, fulfilling the current trend of documentary breakouts. We won’t let what we love die if we understand it in a deeper way that connects to us like a parent for a child with potential, who we won’t give up on. I wanted to show there’s something different going on, there’s an incredible experience that awaits us if we fall in love with it. And at the end the audience leaves feeling fear or despair or depression, their eyes are more tight, not more wide. “The enemy is a human corporation or greed. “Most documentary films about any farm or environment are fear-based,” he said. Rather than pitch his idea to investors, Chester decided to shoot the movie he wanted to make, without talking heads or scientific research, which he didn’t think anyone would want to support anyway.