Page 34 - Fujifilm Exposure_15 Melinda Messenger_ok

FROM ACROSS THE POND
Featuring Eddie Murphy in no fewer than eight comedy roles, Nutty Professor II – The Klumps, one of the year’s biggest money-making come- dies on both sides of the
Atlantic, was originated on
Fuji by Dean Semler ACS, ASC.
The choice to use Fuji was made after consultation with visual effects supervisor Jon Farhat following some special testing. The lab work was done using Fujicolor Intermediate film and the release prints world- wide were made on Fujicolor HC Positive film. ■
Collaborating with his long-time cinematographer Paul Laufer – eight of their commercials are permanently installed in New York’s Museum of Modern
Art – Indian-born director Tarsem Singh made his feature debut this year with The Cell.
Originated on Fuji, it’s the story of a psychologist (Jennifer Lopez) who uses cutting edge technology to telepathically enter the troubled brain of a serial killer (Vincent D’Onofrio).
“Basically for me the
whole thing was like an
opera,” the award-winning filmmaker says. “What really interested me was the idea of
going into a person’s mind
and being theatrical. But the problem was, the last time
anyone tried something like this was when Coppola did Dracula, and American audiences didn’t buy it.
“So I promised to make something pretty nasty up front for them,
give them a premise in which
they can see this opera that Dracula didn’t have. Ironically that’s the
H omophobic ex-cop Walt
Koontz (Robert De Niro) and drag queen
Rusty (Philip Seymour Hoffman) are next door neighbours in a
rather seedy New York apartment block.
In Flawless, show- cased at this year’s
London Film Festival before an imminent UK release, they
become unlikely allies in a bittersweet comedy-drama, shot
on Fuji by Declan Quinn (One True Thing, Leaving Las
Vegas)
Quinn (brother
of actor Aidan Quinn) together with writer-director Joel
Schumacher and production designer Jan
Roelfs had the work of photograph- er Nan Goldin in mind when deter- mining the film’s overall visual style.
Her images of street life, while beautiful, are not glamorous or pretty. “It’s art from reality,” commented Schumacher, whose films range from The Client and a pair of Batman films to Falling Down and Flatliners. ■
part they ended up cutting a lot out of in America.
“But I don’t want people to look at it as
realistic in any way, it’s pure eye candy – think of it as Peter Greenaway
meets Dario Argento.” ■
Following their collaboration earlier this year on the London gangster/boxing drama Shiner, with Michael Caine, director John Irvin, cin- ematographer Mike Molloy and Fuji teamed up again for Sky Pictures’ The Fourth Angel, which has now completed principal production.
Based at Pinewood, the contemporary thriller stars Jeremy Irons Forest Whitaker, Charlotte Rampling and Jason Priestley.
From a screenplay by Allan Scott based on the novel by Robin Hunter, The Fourth Angel tells the story of Jack Elgin (Irons), a thoughtful and civilized man, who is driven to extremes he never imagined after see- ing his wife and daughter gunned down in an apparent terrorist attack. As a result of political timidity he finds himself alone in seeking justice for his
family.
Sky Pictures has commissioned,
produced and financed eleven feature films to date including Saving Grace, Tube Tales and Milk which were also all shot on Fuji. ■
B
on ABC in Spring 2002.
Directed by Marco Brambilla
(Demolition Man, Excess Baggage) and lit on Fuji by Tony Pierce- Roberts, whose latest film, Merchant- Ivory’s The Golden Bowl, also on Fuji, is currently on general release. Dinot opia stars Tyron Leitso, Wentworth Miller, Katie Carr, David Thewlis and Alice Krige. ■
MADE AT PINEWOOD
ased on Jim Gurney’s popular series of futuristic novels, Dinotopia is currently being shot at Pinewood as three two-hour episodes for airing
Photos from top (l-r): Vince Vaughn in The Cell; Robert De Niro in Flawless; Jennifer Lopez in The Cell; De Niro and Philip Seymour Hoffman in Flawless; left: Eddie Murphy is The Klumps ll
Photos above right: Jeremy Irons in The Fourth Angel; right (l-r): Director John Irvin with Producers
Allan Scott and Peter Simpson
EXPOSURE • 32 & 33