FEATURE: 1 SEPTEMBER 2011
Add one vibrant chef, a dash of haute cuisine, mix in filmmaker Sally Rowe … and simmer for ten years …
A highlight of the Auckland Film Festival this year was the documentary A Matter of Taste: Serving up Paul Liebrandt, the directorial debut of ex pat filmmaker Sally Rowe. Now based in New York, Rowe returned to New Zealand for the Festival and spoke with documentary maker Leanne Pooley (Untouchable Girls, Haunting Douglas) about a ten year journey that produced this compelling and insightful film.
A Matter of Taste offers a rare, honest and intimate look into the highly competitive world of New York ‘haute cuisine’. Rowe spent a decade following young and extremely talented chef Paul Liebrandt as he worked his way towards a three-star award from the New York Times for his ground-breaking and innovative dishes.
Such an undertaking required patience and dedication from Rowe and her team, nurturing the story as it unfolded and knowing when it was at an end. “It is truly astounding to have a first film attain the calibre of this one,” said Leanne, “and sold to HBO is very exciting.”
Leanne praised A Matter of Taste for its strong story and compelling characters. “Nothing matters more than story. What people don’t always realise about documentary is that the need for a strong story is as great as it is in a feature. You need a turning point, characters that people care about, a climax … it’s always about telling a story.”
Sally grew up in Hunterville, New Zealand, went to boarding school at the age of 12 and then started travelling. “I got into film in Thailand, worked on US productions, went sailing, kinda bummed around. I got a part in a film as a stand in and then moved into the editing room. I went to LA to finish that and the editor encouraged me to go to the summer film programme at NYU. ‘It’ll really kill you,’ he said, ‘but you’ll know if you want to be a short filmmaker or not.’”
And she wanted to, very much. Sally attended the programme and ended up staying in New York, working in restaurants to get by. She had few contacts in the film industry … but learned a lot about good food. “As a kiwi, you travel abroad and eat! My husband was a wine director at Atlas so I learned to appreciate good food and I wanted to meet Paul. I’d heard about this young person – he was only 24 – who was doing some really original stuff. I was drawn to what he was doing.”
She shot some other high profile chefs but always came back to Paul. “It’s hard to translate ‘taste’ into a visual medium but Paul’s food was so visually beautiful, it translated well into film. He is so cutting edge and is still in New York today.”
The film took over nine years to make because Sally was working and there was a three year gap when Paul Liebrandt could not participate. Keeping the project going for that length of time was not easy. “If I had known what I know now I may not have done it over such a long period of time. But it was my first film, working in production, and I needed to keep on with it because it kept my creative soul alive. The film was my sanity.”
Knowing when to end such a lengthy project can be a challenge and a happy ending is always a bonus. Paul finds his partner for a restaurant and receives three coveted stars. “The stars aligned, I knew we would end on a positive note and I could see an end in sight.” “You can’t help but be invested in your subject and want what is best for them. Even if Paul had not received his stars, I would have stopped the film there but obviously the ending would not have been as happy. ”
Leanne asked Sally to explain how she found her way into her relationship with Paul and what that relationship was like. “Sometimes I think Paul and I are like siblings. I was always professional though but the line can become quite fine, especially over such a long period of time when someone allows you into their life. Of course we had some personal moments. We would fight, he would annoy me and vice versa and then he’d kick us out of the kitchen, petulant and childish! I would get so mad but when you’re dealing with someone who is so talented and working at such a high level, things can be pretty tricky sometimes. I would ask him to wear a microphone in the kitchen and he wouldn’t want to. ‘But I can feel it!’ he’d say.”
A depth of trust and honesty needs to exist between a documentarian and her subject. “My husband Ben knew Paul very well. They were good friends. Paul trusted Ben and so he trusted me. I made it very clear that this was not going to be reality TV. We were not out to ruin his career. I wanted him to know I was a good and honest filmmaker and he knew I would not do anything to harm him. I’m not like that.”
Sally had to establish a relationship with Paul’s co-owner as well. “Paul and his partner Drew were still discussing whether they wanted to open a restaurant together. I told him I’d been filming Paul all of this time and assured him that we were not making a reality show. ‘I’m not that kind of gal!’ I told him. He liked me and came on board but it was a scary moment. Drew sees it as great for his restaurant so has been very supportive.”
Paul Liebrandt chose not to share much of his background for the film and Sally respected his decision. “He doesn’t talk about his childhood but the film isn’t about that. He was a lonely kid and has been in a kitchen since he was 15. This is what he knows and what he does.”
The film was cut at The Edit Centre in New York, “an amazing resource”, said Sally. “They take one feature and one doco and run it through their class. There are some well known editors at the Centre and when they’re not cutting they teach the classes. Students cut the scenes and you receive a rough cut for free. You can really see what works and what doesn’t. They also have a post production facility. We had four screenings and invited the editors to attend. Then we showed Paul. We had a very tight film by then and there were some bits he didn’t like and we made some changes but he didn’t have a tantrum. I think he was pleasantly surprised.”
When asked what was the biggest challenge on the journey Sally replied that there were several. “It would have been great if I’d had one DP with me at all times, someone I could rely on. I wish I could’ve had the budget for this luxury, having it beautifully framed – and the time to do it. That is one regret I have.”
Sourcing the funding for a film project is one thing – but keeping the funds coming for over nine years is quite another. Sally funded her film by working and shooting continuously. “I also have a very patient and generous partner who helped me pay for things! The reality is that you’re in the hole and you have to finish.”
Filmmakers must often self fund to get their projects made and it can be a difficult road to travel. “The chances of making your money back are not great,” said Leanne, “so it’s wonderful when it’s made and does well – that’s quite an incentive.”
The original music for the film adds a vibrant dimension to the visuals onscreen. “My husband Ben is a classical violinist and we have a friend who is a world-class cellist and they both played on the soundtrack. We managed to find a great composer who composed the music, did the sound edit and mix … he was very gracious and did a lot for us.”
The film was edited by Amy Foote who was working at The Edit Centre. “The Centre has a list of the best editors in the USA, all with different budgets. I met several and then looked at a film Amy Foote had cut. She had a great eye for style and pace. We got on really well but she was going to another job. I was crestfallen. I emailed her and said if anything changes for you, please let me know – and it did, she came to see me and she cut the film for me. We were supposed to cut for four months but it took six. Amy wanted to see all the footage again too so it just took longer.”
With the film complete, it was time to bring Paul Liebrandt to the world – and once again, fortune smiled on Sally. “One day I got a call from HBO. They’d heard about my film and wanted to see it. They viewed a copy and made an offer the next day to screen it on their high profile documentary series. They take very few films so this was huge, 30 million viewer ship across the board.”
The deal with HBO did not quite cover the cost of the film … “… but almost and with foreign sales we will. You don’t often make docos to make money.” Sally admitted that the timing was right and she was lucky. “There are so many food programmes on TV but there was nothing like our ‘behind the scenes’ film.” HBO has representatives at festivals, looking out for new films and Sally said filmmakers can also approach HBO through a sales agent.
As for what she would do differently next time, Sally said she would plan better. “I tended to fly a bit by the seat of my pants. Plans get shot to crappola all the time but they are good to have. I would be more organised next time and budget better and tighter.”
Sally praised those who collaborated with her on the film, often lending their expertise for little or no return. “I had a very good friend who received an Associate Producer credit. He helped me do sound, was always there and always helped, a huge support for me and he did it all for free. All those years I worked on sets, you get to know people – it’s the ‘favour bank’!”
The value of a good trailer is often underestimated and Sally feels extremely fortunate to have crossed paths with New Zealander Tamsin (last name unknown) who made the trailer for A Matter of Taste. “Making trailers is a real art form and we needed someone talented to do it. The trailer can be very important when films are selected for festivals. When I met Tamsin she was working for this big trailer house in New York. Just like a couple of New Zealanders, she asked what I was doing, saw the film and liked it. We were having trouble with the trailer and she said, in true Tamsin fashion, she would give us some notes and then said, ‘Oh I’ll just do it.’ She was working under high pressure for other big movies but squeezed our trailer in when she had time. She didn’t charge for it and that really helped us out.”
And the next project? “I’m thinking of shooting a rural documentary in New Zealand and would like to pitch some ideas to HBO. I want to work and collaborate with people who are much better at it than I am. I have no ego problems. I want to learn.”
Written for Script to Screen by Jane Bissell
