THE BURIAL SOCIETY NOTES: THE CREW

To create the cinematic adaptation of the secret world, Racz needed a cinematographer who would work well to develop his vision.  Danny Nowak, a long time collaborator, believes that the script is a like a roadmap and “everything begins and ends with the script.”  “Developing the visual style for THE BURIAL SOCIETY was a great challenge” notes Nowak “the film begins as one movie and ends as another.” Shot on low-contrast Fuji film, the warmth of the stock was flattering to the older actors; punchy flashback sequences that are pivotal to the film’s development were shot on Kodak stock.  On set, soft filters were used on the lights and atmosphere was pumped on set in certain sequences to enhance the mystical characteristics of the material.  Longer lenses were used, hot skylines and some hand held camera work was employed to give the overall film a unique finish.   Lighting the sets was a creative synergy as Racz, Nowak and production designer James Hazell set the scene.  According to Hazell “Danny sees in shadows and light” which aided Hazell in creating not only an emotional murder mystery but also an opportunity for the audience to catch a glimpse of a rarely documented component of Jewish faith and life.  For Hazell capturing “the beauty and grace of this voluntary group of men” was essential to the design concept of the film adding that he wanted moments in their world to be gentle and beautiful using a simple colour pallet and open architecture in the set design.  This is punctured by the cold and slightly sickly reality of Sheldon’s world and his descent.  Hazell praises set decorator Claudia Ventura whose stylistic detail added to the overall production design.  Eager to sing the praises of fellow crew Hazell gratefully acknowledges the painters, carpenters, set dressers and gaffers who helped him create an entire environment from the ground up.  The room where THE BURIAL SOCIETY performed their ritual Tahara (the key set in the film) was a build.  Hazell notes that  “when you get to work with people you respect and enjoy, on a good Canadian film project, there’s little more one could ask for.” Every crewmember on the film cites the script as their favourite part about working on the film.   Costume designer Katia Stano remembers the fascinating stories the older cast members shared with those around them, having spent considerable time designing and fitting the costumes.  For Stano “the wardrobe had to have a story” citing local thrift shops and flea markets as a gold mine of selection. First Racz had a vision, which was followed by exhaustive research and meticulous planning.  The talent, energy and professionalism of the production team, cast and crew combined to give THE BURIAL SOCIETY a screen existence that will mesmerise the viewer.