Zoe Wilson stepped into her first feature film as a Production Designer with the challenge of working on a shoe-string budget.
“It was a truly exceptional experience I will never forget,” she says. “It was really quite guerrilla. At times I was chicken wrangling in-between shots, creating smoke in a Chinese gold digger village, carefully attaching a fake roof to a heritage miners cottage in Bendigo and creating sets from scratch.”
The team was incredibly lucky with the amount of goodwill and resources they were able to source from friends, and contacts working on the larger studio productions.
“We were fortunate to have timed our shoot with the end of the blockbusters Avatar and The Lovely Bones,” Zoe explains. “The set builders knew what we were trying to achieve so instead of taking the wood and polystyrene to the tip, trailer loads were dropped off to our studio. Everyone loved the fact we were making something independent.”