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FILMING THE GOLDEN BOWL
SHOOTING ON A SHOESTRING
Set in Edwardian England, The Golden Bowl, Merchant Ivory’s 43rd film collaboration, is being shot on Fuji by Tony Pierce- Roberts BSC on location in Suffolk, Lincolnshire and Italy.
Adapted by Ruth Prawer Jhabvala from the novel by Henry James, the tale of romance and adultery stars Anjelica Huston, Nick Nolte, Uma Thurman, Kate Beckinsale, Jeremy Northam, James
Fox and Madeleine Potter. It’s Merchant Ivory’s
third James’ subject following The Europeans (1979) and The Bostonians (1984). The most recent James’ adap- tation for the screen was, of course, The Wings Of The Dove, which was also filmed on Fuji and earned a
Just to show that anything the Americans can do, we can do too, a resourceful young British filmmaker has produced a creditable debut on a minuscule budget.
The Accountant is written, edited and directed by Dorset-based
Andrew White (pictured right), and in spite of sound recording and acting that could best be described as basic, shows an ambition way beyond its extremely limited means.
“We shot it in just under two weeks on Super 16mm,” says White. “I’d never even touched a film camera before that. We used practicals for the lighting, and Fuji exterior film doubled up for the interior shots. Technicolor laughed when we delivered one piece of film, which I had to cut when
cinematography Oscar. ■ Above: Crew of The Golden Bowl with DP Tony Pierce-Roberts BSC (seated centre)
and director James Ivory (standing right)
HANDS UP, IT’S A WRAP
Adapted by writer-director Jonathan Martin from a South American short story, Hands Up is a contemporary short drama, co-starring Timothy Spall, Daniela Nardini and youngster Billy Stansbury.
Produced by Frazer Ashford’s award-winning Ashford Entertainment (Great Little Trains, Street Life), Hands Up was photographed on Super 35mm using Fuji by DP John Pardue who also operated on the assignment.
Filmed in Mid-Wales, London and Kent, the 12-minute featurette is being readied with a Dolby digital sound- track for eventual showcasing at festivals as well as, hopefully, eventual cinema and TV release. ■
READING MINDS
unloading the film from the camera, in a biscuit tin.”
White decided to make his hour- long movie after feeling frustrated by the constraints put on him at film school. By all accounts he and the team working on the film have learned a huge amount from the experience, finding short cuts and polishing tech- nique as they went along. It may not be perfect, but for a total cost of around £3,500 is still a remarkable achievement. ■ ANWAR BRETT
F ifteen minutes down, only 75 to go. London-based Rivendell
Media have taken an innovative approach to feature film financing with their latest
project, written and directed by Michael Audreson.
Working with DP Ed Wright, Audreson has just filmed on Fuji the first 15 minutes of The Man Who Could Read Minds, a 90-minute comedy about an unwitting telepath.
PINEWOOD’S PALS TO A TEE
Doubling as a stand-alone short and the opening to the feature, Rivendell hope the footage will help secure the finance needed to complete production next year.
Said Audreson: “We chose to shoot on 35mm to prove we can deliver a high-quality product on time and on budget. However it was Fuji’s support for independent, low-budget film-makers which made 35mm a financially viable option.” ■
P inewood, boasting a line-up that included Bond director
John Glen, production execu- tive Terry Clegg and studio boss Steve Jaggs, won top
team prize at this year’s PALS charity Pro-Am golf day.
Held at Burhill Golf Club on August 5, this second annual PALS (Panavision, Aerial Camera Systems, Lee Lighting, Shepperton Studios) act raised a very generous £7,500 for Queen Elizabeth’s Foundation for Disabled People. ■
Left: Producer Frazer Ashford and director Jonathan Martin on location in mid-Wales. Above left to right: Co-stars Daniela Nardini, Billy Stansbury and Timothy Spall in Hands Up.
Outside Burhill’s clubhouse, left to right: Organisers Peter Allwork of ACS and Ron Pearce of Lee Lighting together with the Foundation’s Elizabeth Jordan and home professional Lee Johnson, who was responsible for mustering nine other South East pros for the hotly-contended 10-team competition.
EXPOSURE • 34 & 35