Page 3 - Fujifilm Exposure_38 As You Like It_ok

MOTION PICTURE • CINEMATOGRAPHY • DIGITAL TECHNOLOGY
E XPOSURE made its first appearance on a global stage at the 50th Cannes International Film Festival in 1997, a truly Golden event when
Hollywood royalty mingled with many of Europe’s, and the rest of the film world’s, finest in the South of France. Our magazine now cele- brates its own 10th anniversary on the Diamond
occasion of Cannes’ much-vaunted 60th with the second half of a decade-long retrospective recalling the talented people on both sides of the camera who have graced these pages down the years.
For Fujifilm, this year’s Cannes is also a remarkable showcase with a number of films – including two of the officially invited British titles, Michael Winterbottom’s A MIGHTY HEART and Harmony Korine’s MISTER LONELY, both lit by 27-year-old cinematographer Marcel Zyskind (whom we featured in the last issue of the magazine) - either all or partly originated on our stocks. Also, the Gala Opener, MY BLUEBERRY NIGHTS, Wong Kar-wai’s first English language film, with Norah Jones, Jude Law, David Strathairn, Rachel Weisz and Natalie Portman, was shot on various Fujifilm stocks by Darius Khondji AFC/ASC.
In the past 10 years, we have profiled more than 100 cinematographers – sadly, some no longer with us - in our regular Behind the Camera series. National Film & Television School graduate Gavin Struthers, now current- ly shooting the fifth and latest series of C4’s low-life hit series Shameless, recently completed OUTPOST, a new, gory horror film – his third – for first-time feature direc- tor Steve Barker. Set during the war in Kosovo and star- ring Rome star Ray Stevenson as an army mercenary tan- gling with Nazi zombies, it was actually filmed in Glasgow and Dumfriesshire.
Tim Palmer, another NFTS alumnus, found himself mingling with a crowd of over 70,000 for BBC’s new, Debbie (Cutting It) Horsfield-scripted six-parter TRUE DARE KISS – “a real mix of genres – from horror, to psycho thriller to black comedy” – as he shot episode two at Old Trafford while Manchester United thrashed Watford in the Premiership earlier this year. Palmer’s long list of credits also includes blocks on both series of Life On Mars, Cold Feet and, most recently, Saddam’s Tribe.
THE MAGAZINE • ISSUE 38 • SPRING 2007
A distinguished TV critic once noted: “Every time you see the name Peter Kosminsky attached to a billing, you know you’re going to see the best thing on that month, or even year.” That’s unlikely to change judging by just the controversial subject matter of his latest pro- duction, for C4, BRITZ, following earlier award-winning films like The Government Inspector, Warriors and No Child Of Mine. His cinematographic collaborator for the fourth time is David Higgs who reports on a challenging schedule including Hyderabad in India and the transfor- mation inside a remarkable Victorian building in the City, which both doubled for Pakistan.
There was some crafty doubling undertaken, too, for the music promo Let The Beats Roll as London was turned into New York when DP Ed Wild helped visualise the work of Tim Deluxe ft. The Audio Bullys for director Eran Creevy. As impressive was the black-and-white mix- ture of light and shadow that Jake Polonsky evolved with Caswell Coggins as he conjured up a suitably spectacular promo look for Keane’s Bad Dream. Continuing the short form theme, we also hear about another NFTS graduate, Liam Iandoli, who has just lit his first animated film, FOR THE LOVE OF GOD, directed by Joe Tucker, which is also an entry at Cannes.
On big screens now and in the new few months are a pair of very contrasting new films. STRAIGHTHEADS, an uncompromising, low-budget tale of rape, revenge and redemption, is the debut feature of acclaimed documen- tarist Dan Reed, co-stars Gillian Anderson and Danny Dyer, and has been lit by Chris Seager BSC. The Cover Story is Shakespeare’s dark-tinged romantic-comedy AS YOY LIKE IT, with a cast including Bryce Dallas Howard, Adrian Lester, Kevin Kline, Brian Blessed, David Oyewelo and Romola Garai, which has been re-located in 19th Century Japan by director/adapter Ken Branagh with a little help from regular collaborator, Roger Lanser ACS.
All this plus reflection on the hard-working Guild of British Camera Technicians at 30, a catch-up with Irish DP John Lynch, a tribute to the late, great Freddie Francis BSC, and a round-up of Fujifilm news in Festivals & Events. ■
MILLIE MORROW MANAGING EDITOR www.fujifilm.co.uk/motion
BOB QUINN • SIMON BAXTER • RACHEL SCOLA • ADRIAN CLARKE