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MOTION PICTURE • CINEMATOGRAPHY • DIGITAL TECHNOLOGY
THE MAGAZINE • ISSUE 33 • WINTER 2005
O
ur Cover girl Helena Bonham-Carter, currently to be heard as the voice of Lady Tottington in Aardman’s transat- lantic box-office office hit, Wallace & Gromit: The Curse Of The Were-Rabbit, and also in the title role of her partner Tim Burton’s acclaimed Corpse Bride,
makes a rare TV appearance in BBC’s MAGNIFICENT 7. She plays a young mother who has seven children, four of whom are boys with varying forms of autism. Directed by Kenny Glenaan, it’s the latest work of prolific small screen cinematographer Mark Waters, whose credits range from Buried and The Cops to Babyfather and Judge John Deed.
Waters is just one of a quarter of cameramen featured in our regular Behind the Camera series. Hailing from Hardy country, Ashley Rowe BSC has, at 46, become one of the film industry’s most in- demand talents ever since he was singled out by Chris Menges BSC, to make his big screen debut in 1993 with Second Best, one of Menges’ rare proj- ects at the helm. Since then, Rowe has worked alongside first-time feature directors like Shane Meadows (24/7), Phil Agland (The Woodlanders), Mark Mylod (Ali G Indahouse) and Sandra Goldbacher (The Governess) as well as collaborated on such much-loved titles as Still Crazy and the blockbust- ing Calendar Girls. His latest, STARTER FOR TEN, scripted from his own bestseller by David Nicholls, marks Rowe’s first on Fuji.
A graduate of the Polish film school at Lodz, Wojciech Szepel first made his mark working alongside fellow student Emily Young on her short films. They then made their feature debut together with Kiss Of Life, which went on to win the British director The Carl Foreman Award at the BAFTAs in 2004. More recently, Szepel has been shooting Royal look-alikes for Yorkshire TV’S WHATEVER LOVE MEANS, which re-traces the tangled web woven by Prince Charles and the two main women in his life.
Peter Wignall is perhaps best known to date as ace camera operator on the kinetic films of Guy Ritchie and Matthew Vaughn (Lock, Stock And Two
Smoking Barrels, Snatch and Layer Cake etc).
A master of the storyboard, Wignall occasionally dabbles in lighting, currently on the ambitious, low-budget FREEBIRD, whose locations ranged from Wales’ Black Mountains to Route 66.
We feature the latest film work of two distin- guished theatre directors. A decade after they brought their successful stage collaboration, The Madness Of King George, triumphantly to the screen, Nicholas Hytner and writer Alan Bennett, together with DP Andrew Dunn BSC, hope to do the same for THE HISTORY BOYS, which reunites the premiere cast of the National Theatre’s reportedly most prof- itable production. Kenneth Branagh remains firmly behind the camera this time for his latest foray into screened Shakespeare with a new version of AS YOU LIKE IT, re-imagined in 19th Century Japan with a cast including Kevin Kline, Bryce Dallas Howard, Alfred Molina and Romola Garai.
To an old dark house in Wiltshire where inventive writer-director Simon Rumley (Strong Language, The Truth Game) has set his darkest film yet, THE LLIVING IN THE HOME OF THE DEAD, full of family horrors. Five’s PERFECT DAY, photographed by Andrew Speller, is a gentler, if still bitter-sweet, comedy-drama centring on 24 hours of wedding trauma and its human fall-out. From Thailand, cinematographer-director Mark Duffield reports on his feature debut, GHOST OF MAE NAK.
All this plus a COMMERCIAL BREAK featuring
DP Olivier Cariou’s Sainsbury’s Try Something Different with Jamie Oliver, Marcus Dillistone with the story behind LIGHTS 2: RETURN OF THE SHADOW, his new Demo film for Fuji’s new film stock Eterna, James Breese on his striking new Super 35mm short, BENJAMIN’S STRUGGLE and a close-up of Merchant-Ivory’s latest THE WHITE COUNTESS. Not to mention a round-up of Fujifilm news including behind-the-scenes on PICKLES and THE QUEEN’S SISTER in FESTIVALS & EVENTS. ■
MILLIE MORROW MANAGING EDITOR www.motion.fuji.co.uk
RACHEL SCOLA • COLIN RICARDO • RUSS GUNN • JOHN GRAYSTON