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THE THINGS THEY SAID
Working in Denmark [on Hold Me Tight] was very civilized in terms of the shooting hours – 39 hours a week. We only had a small crew but everybody contributed a great deal. A ‘green’ approach to filming was implemented; we were each given a Sigg bottle for water to refill and a thermal coffee cup at the beginning of the shoot so that no plastic bottles or polystyrene cups were ever used. I hope, in the future, to encourage other shoots to ‘green up’” David Katznelson
“If you’re a good DP, you should be able to turn your hand to anything. If you have any nous or talent and inter- est in what you’re doing, it’s purely down to story-telling – be it a humvee in the Iraq desert or a tomato in East Cheam.” Tony Slater-Ling
“I always try to challenge myself which is why I don’t do many movies. If I just wanted to be rich I’d have done the next Harry Potter [after shooting Half-Blood Prince]. Sometimes I meet with a director and after five hours I have to tell him I’m just not interested and that he told me nothing that’d push me to do his movie. It’s not about which crane we should use but finding the best way to tell the story. Some of the new tech- nology is fantastic, and with it we can surely find a way also involving the screenwriter to tell stories in new and different ways.”
Bruno Delbonnel AFC ASC
‘Justin [Chadwick] had this idea at first we’d just travel round in a van, jump out, shoot some stuff and then jump back in again. So there’d be times when we were going through towns and villages filming on the streets and the response was great, They were either fascinated by what we were doing or else actually want- ed to become part of it. Mind you, there were other times when we did get worried that someone might machete off our arms to get to the camera! It was a good mix of vibrancy.” Rob Hardy BSC
on shooting The First Grader in Kenya
“Tom Hooper’s take on history is that film often tends to make it look chocolate boxy and sanitised. So, if we were going to make a film [The King’s Speech] about real people
and real events, the more veracity you could put in on the screen, the more believable it will become.” Danny Cohen BSC
“It’s a DP’s dream to work with someone who has ambitions to use the camera not only as some sort of vacuum cleaner but also to create a language of its own ... I’ve worked with some directors who probably know what good acting is but end up simply filming that, not realising what the camera is capable of. Tomas [Alfredson] really knows how to use his tools, which makes it a very exciting collaboration. He especially knows about the business of when you are in, say, a dark room, hanging on to tension, when you can release it or how you should distribute it. In Sweden, they talk about, ‘trying to suck a little longer on the caramel’. Don’t bite it, or swallow, just let it linger. That’s very exciting for a cinematographer.”
Hoyte van Hoytema NSC FSF
2011 and onwards
Fujifilm Motion Picture • The Magazine • Exposure • 37
Thanks to all the above DPs and all the many other cameramen, technicians and craftsmen who have contributed their thoughts and opinions so eloquently to EXPOSURE down the years. Long may it continue with the newly launched and regularly updated online edition of Exposure UK - please contact Jerry Deeney, UK Marketing Manager at jdeeney@fuji.co.uk for details on how to contribute. ■
Compiled by QUENTIN FALK