Page 17 - Fujifilm Exposure_35 Miss Potter_ok

while I like to shoot with long lenses. It was then a question of combining the style but also trying to light a way in which you could literally shoot 360 degrees. I think, in the end, we achieved it,” said Ackroyd.
As well as his rig, he also devised another intriguing lighting source for use in the confined spaces. “When we were in dark spaces just getting a soft rim of light, I used kinoflows. We put them inside tubes, which we had made – a bit like drainpipes – and these things could roll around on the flows. People could walk over them and they wouldn’t crush the bulb. You could control the amount of light com- ing out of them by just twisting or turning. At times, that was almost all the illumination there was.
“The NEADS scene had a particu- larly beautiful look to it; that was to do with the art direction while the grain of the film itself had a softening effect. The result was a strong natural light that somehow faded into nothingness.”
Ackroyd said they treated all the sets “like locations. We were shooting these 40 minute takes in the air traffic control scenes as well as on the plane. Using all the skills I’ve learned with Ken [Loach], I tried to light the whole scene so that whatever happens in that scene is filmable and believable. That’s what gives the overall film its look and sense of reality.
“It’s the classic documentary style: if you’re covering something, you don’t suddenly jump outside of it. To keep that sense of reality, you must stick to those fundamental rules.”
Paul Greengrass, currently making The Bourne Ultimatum, another episode – following his own The Bourne Supremacy - in the Ludlum-inspired thriller saga, has the final word:
“I hope that people see that this film has been made in a serious way by serious people trying to do a diffi- cult thing, which is to explore a very painful event – and that it’s been done in a dignified way and that what we present is a believable truth. If we do that... well, I will feel that we’ve done as best we can.” ■ QUENTIN FALK
United 93 was originated on 35mm Eterna 500T 8573 and Eterna 250D 8563
Fujifilm Motion Picture • The Magazine • Exposure • 15