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Photo previous page: Bruno Delbonnel on location; this page main: The Casino scene in the LFF trailer; above l-r scenes from: Across The Universe; Amélie, Harry Potter And the Half-Blood Prince; Infamous; top: A Very Long Engagement
With a vivid mixture of shots from wide to close-up, was the idea to try and match the originals as closely as possible. Says Delbonnel: “Not really. The only thing we really tried to do was to be as close as possible to the original framings. Look at our Apocalypse Now: it was shot at the end of the day and really dark, so there was no way I could match or even compete with Storaro.”
Shot entirely on 35mm ETERNA Vivid 500T, it was also only the second time Delbonnel had shot on Fujifilm stock. “I have to say it was
perfect,” he enthused. “But then it was too the first time I used it.” The first being on the 2006 portmanteau movie Paris Je T’Aime, for which 20 international directors shot a five-minute segment each set in the City of Light, all on 35mm Fujifilm.
For Delbonnel, shooting the ‘Tuileries’ episode was an extra pleasure because it gave him a chance to work with the Coen Brothers, Joel and Ethan, who were for once minus their regular collaborator, Roger Deakins ASC BSC, whom he openly admires among
contemporary cinematographers. “Yes, it was kind of special.
First of all, he was the one who recommended me. But that made it even harder somehow. I had to be even better. I couldn’t put Deakins in a situation where, when back to the States, the Coens might call him saying that I wasn’t as good as he thought.
“The second question was:
how could I match the Coens’ expectations who were so used to working all the time with one of the best DPs on the planet? That was a
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