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some artistic expression in the different sights he has seen and photographed. The outsider’s eye remains, and helps him bring something different to the projects he has worked on.
“You do become highly sensitive to the light. It is definitely different in New Zealand to England. Even on a sunny day here, there’s a silk in the sky from the air pollution. It’s a lot harder than New Zealand, definitely. But the great thing about not being from here is that you haven’t grown up with it all around you. You’re not blasé. It feels like you’re seeing it with fresh eyes a lot of the time.”
While he cites Nigel Black as a key professional influence there is another fruitful relationship in his career: the one he enjoys with writer Tim Plester and director Ben Gregor.
By far the highest profile of these projects have been pop culture spoofs like Ant Muzak, Blake’s Junction 7 and now World Of Wrestling. Where the first of those featured Adam & The Ants scavenging round the aisles of an all night supermarket, and the second had the sci-fi cult series Blake’s 7 crew stopping off at Newport Pagnell services, the third offers something similarly bizarre.
“World Of Wrestling has all the old wrestlers – Mick McManus, Giant Haystacks, Rollerball Rocco – going home on the night bus. Nothing much happens until other wrestlers get on the bus, by chance, and of course wrestling breaks out on the top of the double- decker as we’re driving round Croydon.
“We shot it very quickly, and were very naturalistic with it. There’s a sur- prising amount of light on the bus actually, we had to bring the level down so you could see more outside the windows.”
His cinematographic heroes, Conrad Hall and Christopher Doyle, surely never had so odd a film on their illustrious CVs. But then eclecticism is a hallmark of Bone’s career to date. Now he’s making features, with the odd promo and commercial on the side, it feels like this is where he always wanted to be. Getting to shoot I Want Candy in Ealing Studios is, sim- ply, an added bonus.
“I kept thinking of the people who’d worked there,” he adds softly. “There’s definitely a sense of history to a place like that.” ■ ANWAR BRETT
I Want Candy was originated on 35mm Eterna 400T 8583
Photo main: DP Crighton Bone metering Golden Cocks; above l-r: Adam & The Ants (with Nick Moran as Ant) in Ant Muzak;
I Want Candy Director Stephen Surjik and Crighton Bone; scenes from I Want Candy with Michelle Ryan, Tom Burke, Eddie Marsan and John Standing
Fujifilm Motion Picture • The Magazine • Exposure • 5