Page 29 - Fujifilm Exposure_38 As You Like It_ok

carefully as we work out how the thing should be shot. That’s another reason why I also like to operate. I find I can light far quicker looking through the frame. During the shot I am constantly thinking about lighting the next one, about the shot construction and about the next possible angle so I can, as a DP, influence the way a scene is going to make best use of my lighting.” Ashley Rowe BSC
“People who are starting out ask me how to get into the business and you can never give them a definitive answer. This is the only thing I’ve wanted to do, and I just went down to London with no money and phoned people and did all I can to get experience. You need the breaks, but you also need the tenacity to do it.” Mark Waters
“As the cinematographer, you are like the messenger. I’m connecting ideas from everyone, trying to gather them so they can be used in the project.” Wojciech Szepel
“You can never have enough ‘prep’ because, come four or five weeks into shooting, you’re so tired and can easi- ly fall into the trap of just doing your wide shot, your two-shot and your sin- gle.” Peter Wignall
2006
“As a cameraman, I like to do as much as possible ‘in camera’. I don’t think you can recreate a bleach bypass working in a D/I suite. In the digital realm, you can’t really recreate the chemical process, and I must admit I’m really into chemistry, always inter- ested in pushing, pulling and manipu- lating stocks, cross-processing as well.” Ben Davis BSC
“We treated all the sets [on United 93] like locations. We were shooting these 40 minute takes in the air traffic con- trol scenes as well as on the plane. Using all the skills I’ve learned with Ken [Loach], I tried to light the whole scene so that whatever happens in that scene is filmable and believable. That’s what gives the overall film its look and sense of reality. It’s the clas- sic documentary style: if you’re cover- ing something, you don’t suddenly jump outyside of it. To keep that sense of reality, you must stick to those fun- damental rules.” Barry Ackroyd BSC
“What I love is going with an emotion. Even now I work with an operator, we
Fujifilm Motion Picture • The Magazine • Exposure • 27