Page 30 - Fujifilm Exposure_50th AWARDS ISSUE FULL PDF - cropped

Golden Globes, Baft
®
2002
“When I first met Mike [Leigh] we talked a lot about my documentary experi- ence. He felt, and I know, that it helps you to think on your toes and not to get too hung up on any tried and tested formula you have in mind. You can be flexible and won’t be easily fazed by the unknown... Every minute that I spend preparing the set, Mike is busy with the actors. There isn’t any downtime for him, ever. While I’m lighting, he’s rehearsing. In fact, what he usually says to me is, “How long?’” Dick Pope BSC
“I like to decide absolutely everything even down to the smallest details. I choose the lights, which type of lamps, bulbs and wattage. I determine what height the lamps must be and what direction they come from. I choose the diffusion and I cut the light with the flags myself... When I see something is wrong or not done exactly as I like, I will adjust it myself.” Thierry Arbogast AFC
“I don’t see a great deal of cinematog- raphy I admire these days. I think lighting should be surprising but these days it seems that flat lighting is very much in vogue. That’s because of television and commercials, I think, and, of course, it’s quicker. But it’s a cop-out.” Ian Wilson BSC
“Look, I’m not a very analytical cam- eraman in terms of sitting down and working out f stops. I work it, judge it, and if it makes a connection with my heart, I know it’s right.” David Higgs BSC
“Always lead from the front. You are in charge of the troops. Never ask them
to do something you would not... and say ‘thank you’ to everybody at the end of the day – this rule applies to directors and producers as well. Most important is always trust your gut reaction to the look and feel of your work as those feelings are primarily why you were hired.” Malcolm McLean
“I think most people are in far too much of a hurry. I’m quite happy to learn to do the job properly. I learn something new every job I do.” Geoff Boyle
“When you are given good-looking sets to work in and beautiful costumes, half your work is already done. Often on films, it is the cameraman who gets the credit when it is really the outstanding work of the production designer/art director and the costume designer that makes him look good.” Robert Fraisse
“The trick is always to try and maintain that student attitude. You must always be prepared to learn, be prepared to test, to experiment, to try things out. But you have to know the rules first to break them.” Haris Zambarloukos BSC
“I guess the reality of your work as a DP in the smallest scale production isn’t that different to the biggest scale production. There may be less people and it may all move at a different speed but you are always having to think on your feet. That’s nice too because while this is a collaborative business, there is a sense that the DP is out there alone trying to achieve something that is your idea of what’s required.” Paul Englefield
“Korda sent me down to Dover once to pick him [Georges Périnal] up after he’d come over from France. I wanted
28 • Exposure • The Magazine • Fujifilm Motion Picture
The Things They Said
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