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car chase, trucks crashing - and that was just the title sequence. The 2nd Unit were fantastic but I was always there, looking after the situation.”
Just as Tufano had, all those years earlier, almost casually chatted Suter into the idea of a career change over a cup of coffee in the Lee’s canteen at Wembley, so this latest turn was prompted by some banter over a beer after playing golf with producers Chris Kenny and Terry Clegg. “You don’t seem to do any movies,” Kenny said to Suter. “That’s because you bastards never give me one,” came the reply.
About three months later, Kenny rang him and said, “Remember when we were in the clubhouse having a beer? Well, I’ve got a picture for you.” Suter was soon down at Pinewood meeting Swiss filmmaker Erni and that evening he heard he’d got the job. The film had originally been due to go last September but, in the way of things, “it went back, back, back – and I though, ‘ere we go, one of those.” Finally it all came together in the New Year.
“My last day of shooting on The Last Detective was on January 23. The following day, I was recce-ing in Luxembourg. Lukas had never direct- ed before only produced but he’d had this movie in his mind since he was a kid. Anyway we gelled straightaway.”
Apart from the odd commercial abroad, Suter had barely used Fuji before but was to become an almost instant convert. “About a week before we started I did some make-up tests using the F-500. We watched the results on the big screen in the local cinemas. I was very impressed especially by its
6 • Exposure • Fuji Motion Picture And Professional Video
DEREK SUTER BSC
“I think I always had an inkling about wanting to end up on camera.”