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As a much-loved classic comes back to the screen, DP Sean Bobbitt BSC reveals how he and his team helped recreate the latest ver- sion of Sense And Sensibility.
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PRACTICE AND
ane Austen died nearly two centuries ago but the screen still seems to have an insa- tiable hunger for her elegant work. Earlier this year, the ITV signalled its return to serious drama with no fewer
Talking of the Fujifilm stocks he utilised, Bobbitt said he used the Super F-64D “specifically for the exte- riors in North Devon. It’s one I’ve used a lot over the years. it has a lovely, almost classic, feel to it.
“When we did have extreme sun- light, the contrast is really nice. But even in the softer light we had, it held the colours in a wonderful pastel. I’m very pleased with it. For all of the day- time interiors on location we used ETERNA 250D, which has a fantastic latitude to it, and it worked so well with the colour palette we were using, which were lighter blues, browns and greens.
“For the night time interors/ exteriors, and the studio, we used the ETERNA 500T which has cut very well indeed with the 250D and, again, has great latitude. A lot of it was shooting as if by candlelight and so there’s a certain amount of underexposure there which it held very well. The very warm flesh tones have come out beautifully.”
Producer Pivcevic underlined the thrust of this new-look S&S: “Our version explores the female gaze as we follow the story through the women’s eyes. “It’s a wonderful mix of youthful passion and warm, funny moments.” ■ QUENTIN FALK
Sense And Sensibility, to be aired on BBC One, was originated on 16mm
Fujicolor ETERNA 500T 8673, ETERNA 250D 8663 and Super F-64D 8622
than three adaptations of her ever- popular books – Northanger Abbey, Mansfield Park and Persuasion. Now the BBC is biting back with its third ver- sion of Sense And Sensibility, following earlier productions in 1971 and 1981.
The cinema also continues to be a fan. Sense And Sensibility itself was both an Oscar and multi-BAFTA win- ner back in 1995 and, last year, Pride And Prejudice revived Austen-mania on the big screen.
You suspect that the success of Joe Wright’s P&P, and especially its refreshingly youthful approach to the subject matter, must have helped influence this latest blast from the past, helped also in no small part sure- ly by yet another adaptation from the prolific pen of Andrew Davies.
“The novel,” says Davies, “is as much about sex and money as social conventions. This drama is more overtly sexual than most previous Austen adaptations seen on screen and gets to the grips with the dark underbelly of the grip.”
Well, he would say that, some might suggest of the screenwriter, who has scripted some of the more provocative TV of recent years, such as The Line Of Beauty, The Chatterley Affair and Tipping The Velvet not to mention a clutch of the classics. Talking of provocative, the tireless Davies has also scripted a new TV ver- sion of Fanny Hill (see elsewhere in this issue of EXPOSURE).
This Sense And Sensibility, which filmed earlier this year for 10 weeks in various stately homes, North Devon and Pinewood Studios, co-stars a cou- ple of newcomers, Hattie Morahan and Charity Wakefield, as the Dashwood sisters, Elinor and Marianne. Better known faces include David Morrissey, Dominic Cooper, Dan Stevens, Janet McTeer and Mark Gatiss.
Produced by Anne Pivcevic and directed by John Alexander, it’ll be shown in three one-hour episodes by BBC One in 2008. Entirely shot on Fujifilm by Sean Bobbitt BSC, the pro- duction marked his first return to “period period” since 2001’s The Life and Adventures Of Nicholas Nickleby.
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