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... And All That Jazz
Also ‘cast’ very carefully was the cameraman, in this case a newcomer to the filmmaking ‘family’ that has pre- vious included the likes of Tony Pierce-Roberts BSC, Pierre Lhomme and Ernest Vincze BSC.
Said Ivory: “We wanted to have a lot of variety in the style of photog- raphy, and our choice of the cam- eraman, Christopher Doyle, would tend to lead to that. He loves to bring variation in both speed and compositional style – he’s always looking for what he calls “the jazz” that’s inherent in every piece he’s working on.
“He doesn’t want it to be too straightforward a thing, and I was glad that he didn’t, because I felt that everything about The White Countess needed to be different from anything we’d ever done before.”
A veteran of both Chinese action cinema as well as Asian and Western ‘art’ films, ranging from The Quiet American and Rabbit-Proof Fence to several collaborations with Wong kar- wei, Australian-born, Asian-based Doyle’s other recent films include the forthcoming Invisible Waves from Thailand and M Night Shyamalan’s Lady In The Water.
Doyle, whose Chinese name is Du Ke Fung (“like the wind”), is also helming the “13th Arrondissement” segment of Paris, je t’aime, an omnibus film on Paris’s different neighbourhoods shot by various acclaimed directors. ■ QUENTIN FALK
The White Countess, which opens in the UK in March, was originated on 35mm Fujicolor Reala 500D 8592
“Doyle is always looking for what he calls ‘the jazz’ that’s inherent in every piece he’s working on.”
Photo main: Ralph Fiennes and Natasha Richardson in The White Countess; inset from top: Vanessa Redgrave and scenes from The White Countess; The late Ismail Merchant and DP Christopher Doyle HKSC pose for James Ivory on the set
Fujifilm Motion Picture • The Magazine • Exposure • 19