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Recent Productions Shot On Fujifilm
F rench film maker Michel Gondry is obsessed with his
PERCHANCE TO DREAM
sequences inspired by the Eastern European animation the director watched as a child.
To get the seamless transitions between real life and dream life Gondry wanted to shoot everything, including the ‘low-tech’ animation scenes, on the same set with the same light.
“We went to Fuji,” he continues, “and we were the first ones, I believe, to use this new film stock Eterna. I like to believe it was named as a homage to Eternal Sunshine of the Spotless Mind - but if it wasn’t please don’t con- tradict me,” he laughs.
As for the location, Gondry could- n’t have known it better. Although he was filming in France for the first time he was shooting next door to where he used to live.
“It’s true,” he says. “About fifteen or twenty years ago I lived in that same building, but this time we used the apartment next door.” ■ ANDY DOUGAN
The Science Of Sleep, currently on release, was originated on 35mm Fujicolor Eterna 500T 8573, Eterna 250D 8563 and Super F-64D 8522
Outpost
Dir - Steve Barker
DP - Gavin Struthers
Stocks used: 35mm Fujicolor Eterna 500T 8573, Eterna 400T 8583
The Oxford Murders
Dir - Álex de la Iglesia DP-KikodelaRica
Stocks used: 35mm Fujicolor Eterna 500T 8573, Eterna 250T 8553
Whistleblowers
Dir - John McKay
DP - Lukas Strebel
Stocks used: 16mm Fujicolor
Eterna 500T 8673, Reala 500D 9692, Eterna 250T 8653, Eterna 250D 8663
Foyle's War XI
Dir - Tristram Powell & Simon Langton DP - James Aspinall
Stocks used: 16mm Fujicolor
Eterna 500T 8673, Eterna 250D 8663, Super F-64D 8622
dreams. He recalls dreams he had as a child and in his latest film The Science Of Sleep, now on release, he sets out to
explore the dreamscape in a love story in which the line between dreaming and reality becomes increasingly blurred for a love-struck young man.
Gondry and his cinematographer Jean-Louis Bompoint had a very spe- cific idea about what the film should look like. Gondry had previously shot on Fujifilm for both Human Nature and his highly acclaimed Eternal Sunshine of the Spotless Mind and here again he turned to Fuji.
“Everything that you see in the film actually existed before the cam- era,” explains the director. “When Gael (Garcia Bernal) has his flying dreams we filmed him before an actual back- drop rather than green screen. I think green screen looks ugly.”
The film centres on a love story between Stephane and Stephanie, played by Bernal and Charlotte Gainsbourg. Bernal’s dreams are played out as ‘low-tech’ animation
In Production
The Broken
Dir - Sean Ellis
DP - Angus Hudson
Stocks used: 35mm Fujicolor Eterna 500T 8573, Eterna 250D 8563
Dalziel & Pascoe - Episode 3
Dir - Patrick Lau
DP - Simon Maggs
Stocks used: 16mm Fujicolor Eterna 500T 8673, Eterna 400T 8683, Eterna 250D 8663, Reala 500D 8692
His Dark Materials: The Golden Compass
Dir - Chris Weitz
DP - Henry Braham BSC
Stocks used: 35mm Fujicolor Eterna 500T 8573, Eterna 250D 8563
34 • Exposure • The Magazine • Fujifilm Motion Picture
Photos: Scenes from Michel Gondry’s latest film The Science Of Sleep,
now on release