Page 33 - Fujifilm Exposure_31 The White Countess_ok

film I ever make, its story and themes are ones I truly believe in: ambition, suppression and fear are universal.
“Overall, I felt that in order for the story to be accepted, it had to be real- istic, avoid cliché, not dwell in depra- vation or be too gritty, entertaining (at times comic), uplifting and most of all... cinematic.”
As for the actors? “It was clear,” says Ford, “we would have to find them ourselves as we could not afford a casting director. We also knew that for the story to have maximum impact, it would benefit from using unknown actors. We also felt this would give the film a refreshing angle as a whole rather than using yet another ex boy band or soap opera member. This would be about new talent, all round.”
The ‘new talent’, or rather, old talent in a new guise, also extended to some key crew, notably Director of Photography, Dublin-born Fiachra Judge, 51, who was lighting his first ever feature.
Ford was anxious to use Steadicam “as I felt it gave not only visual move- ment associated with contemporary cinema but it helped heighten and involve the audience where they nor- mally would have just been spectators.”
So what better than to hire Judge, already established as one of the industry’s most experienced Steadicam operators on features rang- ing from Martha – Meet Frank, Daniel & Laurence to Jackie Chan’s The Medallion. There’s also been stack of commercials and promos – spanning The Spice Girls and Pink Floyd – many of which he has also lit.
Says Judge: “I started on cameras in 1975 and eventually decided to go Steadicam in 1988 – and have been Steadicamming ever since.” He moved to the UK in 1979 but his work has taken him all over the world.
Did he see it as a giant leap between a 30-second promo and a 90- minute promo. “No, not at all. You
learn anyway how to light gradually and over the years I’ve picked up tricks and tips from the many DPs I’ve worked with. One promo is total- ly different to the next. One moment you’re lighting 16mm black-and- white, the next might be 35mm colour anamorphic. You run the gamut doing promos.
“The brief here was to make it hap- pen with no budget,” he laughs. I came in with ideas about Fujifilm, which I like very much having used it exten- sively on promos. I like the way it treats light, and that I can bend it and play with it. I also liked Jason’s ideas and way of thinking and I knew that together we could pull it off.
“Of course there were problems along the way. One of them was that having such a small crew we were often reduced to guerrilla tactics just to get something done. Rather than closing down a street, we had to work within the traffic. We did
“One thing I did not want was for this to be a rundown gritty council estate film, which I think we’ve become accustomed
to in British cinema - especially low-budget.”
okay though thanks to a great team of student volunteers.
“One of the things we wanted to do was to make it look bleaker. We bleached the colours for the depression scenes and where he was generally feeling low or just hanging out with the guys. Then we built the colour back in for the scenes with the girl. That was done with a combination of lighting and in post-production.”
Says Ford: “One thing I did not want was for this to be a rundown gritty council estate film, which I think we’ve become accustomed to in British cinema – especially low-budg- et. My objective is if it’s run down, then it’s upbeat rundown.”
Adds Judge: “Given the financial constraints and those of equipment and manpower, I really feel the direc- tor and the team pulled the rabbit out of the hat in the end.”
Terry Bird, who with his team per- sonally oversaw the distribution and release of the film into a number of cinemas last month, is unequivocal: “New Town Original is now a complete, competent British feature film of which we are all very proud. It has been an immense learning curve for all involved and one that has given us the knowledge and motivation to make bigger and better productions.
“We’ve put five years of our life into it. The film was a calling card for us. Now we’re planning to devel- op and raise finance on a new slate of films. Our motto is: We’re here to stay.” ■ QUENTIN FALK
New Town Original was originated on 35mm Super F-400 8582
Photo main: The New Town Original team - Terry Bird, Jason Ford and Jamie Palmer;
facing page l-r: Katharine Peachey; Elliott Jordan and Nathan Thomas; DP Fiachra Judge with Ford on the set; Elliott Jordan
Fuji Motion Picture And Professional Video • Exposure • 31