Page 35 - Fujifilm Exposure_9 Love's Labour's Lost_ok

FUJI SCHOLARSHIP WE’VE OUT MIKE LEIGHED MIKE LEIGH
DEAD ON TIME
GBCT FUNDRAISER
FINAL CUT
LIGHT FANTASTIC
T he Fujifilm Scholarship, now in D escribed as a “wildly outra- It has been written, produced and
its 19th year, is well underway. Sixteen colleges and universi- ties around the UK made it through the script selection
process and are now getting stuck into the business of filmmaking.
We wish them all luck with pro- ductions and thank all the sponsors involved who continue to support the scheme so generously. ■
Iwanted,” says director James Larkin, “to capture the insanity that will grip the world in the final seconds of this century.” The result is Dead On Time, a darkly comic tale set quite literally over the last 15 minutes of 1999 and involves two disturbed men (Michael Gambon, Pete Lee Wilson) desperate to make their name right at the beginning of the new millennium.
Larkin, an experienced actor who also co-wrote the film for Production International’s Ross Saunders, explains: “The film runs in real time so the final fifteen minutes of the 20th Century is exactly what you
get - nail-biting, disturbingly hilarious, Millennium mayhem! It’s extraordinary that a midnight, essentially no differ- ent from any other, has the potential to cause such utter world wide chaos.” It’s Larkin’s second film following his debut short, My Own Private Lido, in 1997.
With a score by Alan (What’s Eating Gilbert Grape) Parker, Dead On Time was photographed on Fuji by Robin Vidgeon BSC and shot on locations around North London for four days at the back end of 1998. According to producer Saunders, there are various exhibition possibilities for the film, including several offers from TV. ■
geous, extremely funny false documentary”, Final Cut stars Jude Law, his real-life wife Sadie Frost and Ray Winstone playing
fictionalised versions of their real per- sonalities but using their own names.
directed for their Fugitive Films by Dominic Anciano and Ray Burdis whose previous productions include The Krays, The Reflecting Skin, The Passion Of Darkly Noon and Death Machine.
Their method of working - an unusual form of improvisation - led Jude Law, who has recently worked for Clint Eastwood, David Cronenberg and Anthony Minghella, to hail Final Cut as “the most liberating, fulfilling, exciting and weird job I’ve ever done... What’s amazing is that we’ve out Mike Leighed Mike Leigh. People think Mike Leigh is improvised,
but it’s actually very stylised.” ■
DP John Ward, who shot the film on Fuji, will be writing an article about the making of Final Cut and its follow up in a future issue of EXPOSURE.
T
welcomes sponsorship.
The event is a one-and-a-half
hour Grand Prix team race with each kart driven by a team of three drivers. Sponsors can have a team of three and promotional spots in the Guild's magazine, Eyepiece.
Potential sponsors should contact the GBCT at 0181 578 9243 or Jamie Harcourt at 0118 948 4150/mobile 0973 893774. ■
Right: Michael Gambon as Mr Silverman in Dead On Time; far right: director James Larkin and producer Ross Saunders
on the set of Dead On Time
assistant cameraman Richard Hakin. Subtitled Life Behind The Camera,
the new book covers Hakin’s work from a documentary about the making the third Indiana Jones film to persuading a stubborn canary to sing for a TV commercial. ■
Better Than Working by Richard Hakin (AAVO, £9.99)
Congratulations to Janusz Kaminski (Saving Private Ryan) and Remi Adefarasin (Elizabeth) who, respectively, won this year’s Oscar and Bafta for Best Cinematography.
John Toll (The Thin Red Line), Conrad Hall (A Civil Action) and Richard Greatrex (Shakespeare In Love) were the other Oscar nominees, while Peter Biziou (The Truman Show) was cited alongside Greatrex, Adefarasin and Kaminski in the
Bafta line-up. ■
Above and right: scenes from Final Cut starring Jude Law, Sadie Frost and Ray Winstone.
he Guild Of British Camera Technicians is staging a fund-raising Go-Karting Day at Milton Keynes' Daytona Karting circuit on July 11 and
W
ith an enthusiastic introduction by Lord Puttnam, Better Than
Working is a behind-the-
scenes account of film- making through the eyes of freelance
FESTIVALS & EVENTS
FESTIVALS & EVENTS