Page 24 - Fujifilm Exposure_35 Miss Potter_ok

G
arry Turnbull’s relationship with Fujifilm goes back fully 25 years to the turn of the Eighties when, as a camera assistant, he and Andrew Dunn - who was, at the time, shooting documentaries and
drama for BBC Scotland - got hold of some of “the new fast stock.
“I think it was called the A250,” he recalls. “We were very excited and took a couple of cans out on to the streets of Edinburgh one night to test it. It was raining and I remember we got some really interesting material with just avail- able streetlights, car headlights and so on. We then used it very successfully on a documentary set in Aberdeen about a well-known oil man, Rick Wharton”
A quarter of a century later, and Scots-born Turnbull, a fully-fledged
Director of Photography in his own right, has suddenly felt that old Fujifilm excitement all over again on an unusual new project in collabora- tion with writer-director Matthew (grandson of John) Huston.
Turnbull, who’d last worked with Huston on an art gallery-commis- sioned piece called Cantos a couple of years earlier, was approached again by the filmmaker for a music promo featuring a work, The Boy Bitten, by the British ‘big beat’ artist Mekon (also known as Agent Provocateur).
“Matt sent me an ambitious treat- ment with a lot to do but containing no actual performance, which was unusu- al for a music promo. It was all going to be narrative storytelling. He also had an idea for the ‘look’, which intrigued me. He was particularly
B&W
B&W
IN COLOUR
IN COLOUR
AN INTERVIEW WITH
GARRY TURNBULL
continuedonpage 24 Photo main: Garry Turnbull at work and above a scene from The Boy Bitten
22 • Exposure • The Magazine • Fujifilm Motion Picture