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IN THE FRO
IN THE FRO
An interview with Sean Bobbitt
It was the first day of shooting in the City of London on direc- tor Stephen Whittaker’s new two-part adaptation of Dickens’ Nicholas Nickleby for ITV. “We had,” recalled cine- matographer Sean Bobbitt, “done a lot of preparation before- hand. Anyway, I came round the cor- neronmybikeandasfarastheeye could see there were technical trucks, horses, carriages and about 150 extras. I had to stop, get off and then almost literally threw up.
“It was a case of ‘My God, what am I doing?’ Suddenly it all became very big and very real. It was the first time I was only lighting and not oper- ating too. I simply didn’t know what to expect,” he admitted.
This rather disarming confession of momentary panic doesn’t come from some callow novice fresh out of film school but rather from the 42- year-old veteran of hot spot docu- mentaries, feature films and, as a combat news cameraman, more than the odd frontline shooting war like the Lebanon.
In his defence, it was his televi- sion drama bow - in fact his first cos- tume piece, period. And the assign- ment effectively offered up yet anoth- er first for Texas-born Bobbitt: filming in studios various after numerous locations, including a week in the wilds of Yorkshire.
“Yes, that was a great challenge too,” he confirmed.
Whether you’re talking to Michele Camarda, producer of Bobbitt’s 1999 feature debut, the award-winning Wonderland, or to the makers of more recent, yet-to-be- released, film assignments such as the romantic comedy Lawless Heart and Chunky Monkey (shot on high definition video), they all enthuse unreservedly about a DP who comes comparatively late to cinema.
It should have all been much plainer sailing had his rather privi- leged training more than 20 years ago properly paid off. The well-travelled
son of an oil family who’d lived and schooled in England from the age of six decided to move to California for his further education.
After a false start at the college in Santa Clara reading literature and philosophy – “the plan was to become a great writer,” he smiles - he quickly switched to theatre arts which also boasted an Introduction To TV Production course. With the back-up of an amazing new TV facility complete with three colour camera and edit suite not to mention inspira- tional leadership from “a mad Jesuit priest called Father John Prevett”, Bobbitt quickly prospered.
“We had total control of the facili- ties and were taught everything from being a boom operating and camera to lighting design, editing, producing and directing. We covered drama and documentary, with a strong emphasis on journalism as well. In my final year I became head teaching assistant which helped pay for my education.”
‘The whole idea was that the stu- dio should be self-sustaining so they’d bring in outside projects to utilise the resources. At 19, I was directing a live multi-camera talk show. It was a fantastic time. However I wasn’t yet making enough money to survive so I’d also work as a freelance studio cameraman primarily for the local PBS station.”
After that kind of dream start, you’d think the only way was down for Bobbitt who now dreamed of becoming a director. And you’d be right.
“I came back to England with this fabulous CV and an amazing showreel expecting everyone to welcome me with open arms - but I literally didn’t do a day’s work for the next six months,” he smiled, ruefully.
When he did finally gain employ- ment it was as a sound man working for one of the first ENG teams to open up in London, principally servicing the US networks.
“I didn’t stop for two years and although the job wasn’t particularly
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Photo of Sean Bobbitt by Campbell Mitchell
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EXPOSURE • 22 & 23