Page 27 - Fujifilm Exposure_50th AWARDS ISSUE FULL PDF - cropped

through within two printer points from end to end. And yet I only used the light meter once a week.” Gil Taylor BSC
“In the UK, they tend to think ‘save’ rather than ‘bigger and better’. That atti- tude indirectly diminishes the size of a project. If you think small, you’ll be small. In the US, their vision is much broader. They see everything bigger.” Vincent Cox
“The trick, I soon discovered was to try and stay ahead of him [Al Pacino directing Looking For Richard] but if you made him wait while you set up something, then forget it; it was ‘Turn over’ straightaway and off he’d go. He was improvising and directing at the same time. It was all about ‘the moment’, that was what was impor- tant to him. He’d say ‘Stick with me”, and you’d be shooting something and then he’d suddenly disappear. Where had he gone? Then just as quickly he’d reappear in framer and knew exactly what lens you were on. He was so film literate and his energy was incredible. I just felt very sorry for my crew because I don’t think they ever got a meal break!” Nina Kellgren BSC
“Faces should always be against a set- ting. I’m especially proud of one shot in Wives & Daughters where, in the far distance on a wide landscape, there was a girl in a red dress rising a horse across the screen. That wouldn’t nor- mally be done on TV, but it worked. In this new digital age, directors should- n’t ever be scared of going wide.” Fred Tammes BSC
“I love kind of inventing things. It’s love- ly to come up with something, to put all the elements together and see some- thing pop out. Sometimes you put in an in-camera effect, plus a film effect plus a lighting; there are so many things one has at one’s disposal.” Roger Eaton
“It’s more important to get the script across. You just zip up and do it straight, but other times you need a visual, creative twists and that’s when you have time to play.” John Lynch
“I did the usual thing – freebies, low budget promos – but it’s very difficult because so many people want to make films... Nobody’s going to come up to you and just say, ‘Look, here’s a fan- tastic job as a Director of Photography’. You get there by hook or by crook.” Danny Cohen BSC
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