Page 37 - Fujifilm Exposure_50th AWARDS ISSUE FULL PDF - cropped

The films look the way they do
because of where they’re shot more
than how they’re shot. Ondine is
proof of that. I was touched by Neil’s “ acuity and wryness – and pleased by
the continuity of space and time that shooting such a story in such a
contained space suggested. Having
some Irish blood also made me
wonder what I could make of Ireland
from the inside looking out.”
Christopher Doyle HKSC
“He ([Shane Meadows] is probably the best director I’ve worked with. With most films, schedules are dictated by time and money; you’re always gov- erned by time and making things cheaper. But the thing Shane does is shoot chronologically. He doesn’t care if he has to move locations four times day. In filmmaking you don’t normally do that; you shoot in one location the whole day because you don’t want to spend half of your day moving from one place to the other. But in the end it’s really great for everybody because we are all experiencing the film and living this journey, especially the actors. For me it was like there was no way back after working this way with Shane.” Natasha Braier
“Although I probably thought when I started out that I’d most likely work in France all my life, I now feel much more freedom; in fact I think maybe I’m doing a better job when I’m travelling. It’s physically such a pleasure to discover a new country and then try to convey that feeling on screen. I like to play with the texture of a country in the same way I like to do with the texture of the film itself. There’s nothing better than trying to create new ‘looks’.”
Benoit Delhomme AFC
“The storm swirled outside above us while we filmed this little scene. The lamps outside were being blown down even though they were held down with sandbags. The lightning got so close the flashes were reading inside onto the film so we would try and turn over only between the lightning. Who were we kidding? That didn’t work. The sound recordist was in tears, head in hand hiding behind his sound gear. I think it was because of the tea trolley!” Roger Lanser ACS
“As for the restrictions you an often get shooting period, I like to think of it as a challenge, and often this can offer up creative solutions that work terrifically well. In some places one wasn’t able to mount, clip on or screw in, in any shape or form. I worked [on Emma] with a wonderful gaffer, Alex Scott ... he came up with a wonderful solution whereby we would string up very thin wire between picture rails and from that we could mount very lightweight ‘Chinese lanterns’; by doing that, we could still preserve the widthoftheroom.” AdamSuschitzky
Fujifilm Motion Picture • The Magazine • Exposure • 35