Page 34 - Fujifilm Exposure_50th AWARDS ISSUE FULL PDF - cropped

“What I love is going with an emotion. Even now I work with an operator, we often shoot with two cameras and I loveoperatingthesecond. Ijustwant to be there on the face, on the emotion. You can’t see on the monitor what I see through the lens, the world reflected in the artist’s eye.” Lukas Strebel SCS
“You do become highly sensitive to the light. It is definitely different in New Zealand to England. Even on a sunny day here, there’s a silk in the sky from air pollution. It’s a lot harder than New Zealand. But the great thing about not being from here is that you haven’t grown up with it all around you. You’re not blasé. It feels like you’re seeing it with fresh eyes a lot of the time.” Crighton Bone
“As soon as I touched it [a 16mm ACL], I knew that’s what I wanted to do. There was something about the rela- tionship between the photo-chemical, mechanical, the tactile and, of course, the aesthetic. I now knew there was nowhere else to go.” Garry Turnbull
“There is perhaps a cachet about cine- ma films which sometimes is woefully misplaced. The fact that they were shot on 35mm is thrown away. I believe that much of the great British film industry is alive and well and working in televi- sion... The cachet comes with that 40ft screen. That’s the only difference. We’ve now got to the point with D/I and 16mm where the results are superb.” Simon Kossoff BSC
“Many years ago I met a great camera- man, Giuseppe Rotunno, who shot films for Fellini. I asked him if he was still enjoying his work. He looked me in the eyes and said, ‘Too much!’ And he was in his late seventies. As you do more, you become more passionately involved and end up loving it more.” Stuart Harris
“I read a book of his [Nestor Almendros] about working in Cuba where they used to shoot scenes wait- ing for the light to come through a particular window. I’ve never been to those places shooting a drama when you know where the light is coming from, where the sun is, and that there’s not going to be some bloody great cloud in the way. Or else it’d going to be chucking down with rain.” Ireland’s Peter Robertson
“For me, the camera is just the tool: the picture is in your head. The way I work is to talk to the director, read the script, discuss things and get the images in my head. You then go out and make them happen using the tools you have. I don’t, for example, believe in putting down the camera and look- ing for the shot. I already have the image in my head and then look for the shot to match that.” Zoran Veljkovic
Look, every hour of our 16-hour days is, to some extent, a compromise. One of the joys of doing what I do is cheat- ing circumstance, situations, God... whatever.” Andrew Dunn BSC
2007
“A lot of the magic of filmmaking for me begins on the set when you all arrive to shoot for the first time. Okay, you’ve had meetings with the director, spoken to the actors and to the other heads of department. For me, that’s when the story really begins to take shape however much ‘prep’ you do. It becomes like a life that you all have that’s unfolding in front of your eyes. Certainly all the actors I’ve been involved with seem to love it [shooting in sequence]. But it isn’t necessarily a better way than the other; it’s just a different discipline.” Nigel Willoughby
“I love operating. I love looking through the camera and I love com- posing images. It’s all about framing and camera movement. For me, still, I think that’s my first and foremost emotional connection to filming.” Andrew Speller
“It’s so much easier shooting on film compared with, say, HD, which is almost like shooting on reversal film. you’re panning around a window area to somewhere in the corner, you have to adjust the stop on HD; on film, you have the flexibility to see more. Some people say it’s easier to shoot on HD but I don’t actually believe that.” Marcel Zyskind
“The whole premise of it [Life on Mars] is giving it a great look. You’re expected to go in there and really do things you may not usually do in TV in terms of working the angles and the lighting. It’s a real challenge, never boring and you’re always being stretched to the limit of your imagina- tion. If you can succeed with that – and people respond to it – then you really know you’re a valid practitioner of your craft.” Tim Palmer
“I particularly enjoyed working in India [on Britz] – the crew was great and I had a hugely talented gaffer – but it was often very difficult. There are just so many people all in the wrong place at the wrong time. The moment you bring out a camera of whatever size, the dynamics can change and sometimes those little moments of genuine public interaction can disappear in front of your eyes.” David Higgs BSC
32 • Exposure • The Magazine • Fujifilm Motion Picture