Page 33 - Fujifilm Exposure_16 Bob The Builder_ok

EYE-CATCHING QUARTET
W ith the aid of Argentine- Easy Rider,
born cinematographer Julio Macat (Home Alone trilogy, The Nutty Professor), choreographer-
turned-director Adam Shankman decided to make The Wedding Planner “a kind of valentine” to San Francisco.
Originally set in New York, the romantic comedy, co-starring Jennifer Lopez and Matthew McConaughey, was re-located to the Golden
Gate city.
Ghostbusters) and lighting consultant John Tedesco.
Explains Larkin about the ‘look’ of the film, which was partly
originated on Fuji: “It’s set against the Miss United States Pageant
J
“My goal for the
look of the movie,” said Shankman, “was to
infuse it with the old fashioned glamour of
some of my favourite
films like His Girl Friday, Bringing Up Baby and Roman Holiday.”
The centrepiece of the film, origi- nated on Fuji, is a romantic dancing sequence in the city’s main park which is dressed with glowing lanterns, a lighted Ferris Wheel and a colourful carousel. In the background, the 1951 musical Two Tickets To Broadway is projected on the park’s outdoor screen. ■
On Miss Congeniality, a new action come- dy co-starring Sandra Bullock and Michael Caine, pro- duction designer Peter Larkin working very closely with veteran DP Laszlo Kovacs (My
Best Friend’s Wedding,
and we were try- ing to find many looks; the look of the opening the swimsuit pageant; the evening gown competition
and the finale.
“Utilising a
huge video projection screen, we were able to film the contestants in the fore-
ground of the frame and then
on the projec- tion screen
showcasing close-ups. That
was an important part of the
scenery. We also built a room
behind it to enclose it so that
the lights didn’t bounce into it.” ■
first-time director on the occult thriller Lost Souls. Though a box- office flop, the film, lit on Fuji by Kaminski’s long-time colleague Mauro Fiore, was visually stunning.
Explained Kaminski: “I see the world through light and shadows and nuances. I tried to create some-
thing that is close to reality but is slightly hyper-real with certain stylised aspects. I wanted to create a sense of claustrophobia, fear and a kind of conspiratorial paranoia through the camera and lighting.
“The film is dark because it gives you a sense of not knowing what is lurking just beyond the frame.
This causes the viewer to feel ner- vous, to feel tension, and then when
certain things come into the frame from out of nowhere it’s a really shocking
surprise.” ■
anusz Kaminski, twice
a Best CinematographyOscar winner for his work on Schindler’s List and Saving Private Ryan, recently turned
D
woman cinematograph- er accepted to study at
the American Film Institute, chose Oliver Stapleton BSC as DP for Pay It Forward, which was
partly originated on Fuji.
Described as a “premiere shot maker”, Leder was keen to utilise a wide variety of camera rigs, lenses, cranes and camera movements for her drama, co-starring Kevin Spacey, Helen Hunt and Haley Joel Osment, set in and around Las Vegas.
Commented Stapleton: “Las Vegas is hard to beat for interesting visuals. It’s over the top in terms of colour, clutter and light. We contrasted it with a grey-blue palette of colours for Spacey’s apartment in the film which is neat but dreary.” ■
Photos from top: Lost Souls; The Wedding Planner; Pay It Forward with Kevin Spacey and Miss Congeniality
irector Mimi Leder (Deep Impact, The Peacemaker), the first
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FESTIVALS & EVENTS