Page 7 - Fujifilm Exposure_20 Bend It Like Beckham_ok

“On a Mike Leigh film there is no script, I don’t get to see what I’m going to be doing until I arrive on the first day of shooting. I know no more and no less than anybody else on it.”
The English Patient on a single fast stock and thought that was really bold.
“But it turned out to be very liber- ating. I never had to worry about changing up to a faster stock when the light began to go. Cinematographers often say that they choose a particular stock because it gives them a rich vel- vety black but if I hear that again I think I might throw up.
“I shot on this film stock because I liked the look of it. I like the way it ren- ders and it’s an incredibly useful ASA to have because I’m able to shoot on it morning noon and night. The velvety rich blacks come with the way you expose it and photograph it and light it.”
At an age when some might be get- ting rather set in their ways, he contin- ues to adapt to the ever changing demands of a fast moving industry. One of his current enthusiasms is for the DVD revolution which enables a cinematographer to lock a film to be viewed repeatedly and at the same high quality by the home viewer.
“I suppose one of the appeals is that the home viewer has the chance of seeing the film in the aspect ratio at which it was shot,” he enthuses, “and in the same quality it was shot in. So not being a part of the transfer process is like not being there when you’re shooting it as far as I’m concerned. It’s that important.” ■ ANWAR BRETT
The Girl In The Picture, Secrets & Lies, 13 Conversations About One Thing and All Or Nothing were all originated on Fujicolor Motion Picture Negative
Photos main: Dick Pope behind the camera under the watchful eye of Mike Leigh from top: Scenes from Amy Foster and Naked