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“MY AESTHETIC CHOICE IS DEFINITELY THE ETERNA VIVID 500T. I FOUND TWO THINGS WITH THIS STOCK THAT I REALLY LIKE: NICE SATURATED COLOURS AND A SOFTNESS IN THE SKIN TONES.”
Peck, whom I met on Sometimes In April which was produced by HBO and with whom I
subsequently did three other movies. That’s also why I’m happy to be working with Christophe Ruggia again on this new film.
“When I shot Sometimes In April in the US, the production asked for memos on my lights on shooting style of the movie. That’s a difficult exercise for a DP who hasn’t been trained in that way. It’s never done like that in France. It’s a pity, because it forces you to define a style to justify your technical choices.”
Other films, such as the
sci-fi fantasy Possibility Of An Island, posed an altogether more subtle challenge.
“I was hired to replace a Director of Photography [Jeanne Lapoirie] who was pregnant. I loved this collaboration. If Michel Houellebecq would call me tomorrow for another one, I would accept without any doubt even if this film was savaged by the press. One part of the film was shot outside, the other in the studio - and I took care of the studio part.
“We had an afternoon to talk about lighting, lenses and so on. Katia Wyszkop, the production designer, helped me a lot in this as she had already worked with Michel. He is very respectful towards technicians, he loves cinema and could be an incredible man to work with.
“There were dialogue shots where he didn’t want to do a reverse shot because he said he didn’t need it, it didn’t tell him anything. We told him it could cause problems in the edit, but he still said no. This strictness was very interesting.”
Still learning, forging new relationships in an ever changing industry, Guichard retains the boyish enthusiasm of a film school graduate rather than an already garlanded veteran.
“We have a privileged job,” Guichard affirms. “Even with lots of experience you find you are asking questions of yourself on each movie. It’s a job that keeps you young, but above all it’s about telling a story.”
Dans Le Tourmente was originated on 35mm Fujicolor ETERNA Vivid 500T 8547 and ETERNA Vivid 160T 8543
FUJIFILM MOTION PICTURE • THE MAGAZINE • EXPOSURE • 29